ears
I sense in the air
a perfume that stirs my emotions,..
LANCOME
PARIS
LE PARFUM DES INSTANTS PRECIEUX
L ANCOM E
PARIS
1916-1991
'
Aquascutum in Vogue
for 75 years.
For 140 years Aquascutum have been making fine English
fashions which have had the pleasure of appearing in
Vogue for the last 75 years. Adding a touch of quiet style,
confidence and sophistication that is unique to
Aquascutum, as Vogue is unique to the fashion world.
100 REGENT STREET LONDON W1A 2 A Q
5
PARFUM
N°5
CHANEL
75 yearns
cover
This is a tribute to Horst's
August 1940 cover. It is
photographed by Tyen, starring
Yasmeen in silver metallic body
and leggings by Karl Lagerfeld,
1991 winter collection.
Fashion editor: Harriett Jagger.
Hair: Klaus Roethlisberger for
Sorbie, Paris.
Make-up: Kim at Christian Dior
13 .. .VOGUE 1916-19
27 .. .VOGUE 1920-29
45 .. .VOGUE 1930-39
65 .. .VOGUE 1940-49
79 .. .VOGUE 1950-59
91 .. .VOGUE 1960-69
107 .. .VOGUE 1970-79
123 .. . VOGUE 1980-91
ELIZABETH TILBERIS
Editor-in-Chief
Managing Editor: Georgina Boosey
Creative Director: John Hind
Features Editor: Eve MacSweeney
Eyeview of each decade by Lesley Cunliffe
Research and copywriting: Caroline Sunderland;
Charlotte-Anne Fidler; Linda Watson
Layouts: Suzanne Baker; Paul Eustace; Lorna Crowe; Janies Belger; Clark Edwards
Photography research: Robin Muir; illustration, Lawrence Mynott;
assisted by Tiffany Stemp, Tim Walker, Donna McLaughlin,
and the Vogue library team - Jane Meekin, Fiona Shearer, Max Steiger
Sub-editing: Teresa Marlow; Mimi Spencer; Sarah Harding; Caroline Dilke
Retouching: Barbara Parsons; Terry Boxall
Copy printing: Grade One Photographic; A & B Photographic Services
RICHARD A. SHORTWAY
Publishing Director
Publisher: Peter Stuart
Advertising Director: Alison Parker
Retail Manager: Suzy Garland Vogue Men Manager: Lorraine Perretta
Business Development Manager: Russell Pickering
Fashion Manager: Jacqueline Euwe Travel Sales Executive: Dominic McCarthy
Paris Office Director: Vanessa Creedy-Smith
Promotions Manager, Italy and Germany: Caroline Hill
Advertisement Manager, USA: Joan Revell Demorest
Regional Advertisement Manager: Caroline Poole Executive: Vera Baker
Executive Editor, 75th Anniversary: Anna Harvey
Retail Fashion & Beauty Editor: Anna Rostand
Promotions Director: Susie Banks
Executive: Samara Cummins Assistant: Philippa Kingsley
Promotions Editor: Zoe Souter
Art Director: Jacquie Tilley Art Editor: Anita Wright Designer: Andy Goodman
Promotions Assistant: Louisa White Display Executive: Rosanna Wick
Production Director: Deborah Montgomery
Manager: Jennie Mulford Controller: Suzie Parry
Coordinators: John Boston; Jo Cooke
Published by The Conde Nast Publications Ltd, Vogue House, Hanover Square,
London W1R0AD (tel: 071-4999080; telex: 27338 Volon G; fax: 071-493 1345).
DIRECTORS Daniel Salem (Chairman), Richard S. Hill (Managing Director),
Michael J. M. Garvin (Company Secretary), Barbara Tims, Deborah
Montgomery, Richard A. Shortway, Sandra Boler, Peter Stuart, Stephen
Quinn, Jonathan Newhouse, Brian Robertson, Nicholas Coleridge
'4
i
r
i
i
ex, ■ f
* \
*\|.
A ^
W v
**»
** e*w
\ t*
I H
«*■$ ■
*h*. * A v
y
RICH BROCADED
CHIFFON VELVET
REST GOWNS
We have made a special study of
Boudoir, Rest, and Tea Gowns,
and have always in stock a won¬
derful variety of these dainty
and useful garments. All these
gowns are our own exclusive
designs. They are adapted from
the latest Paris Models, and are
made by our own workers from
materials that we can recommend
with the utmost confidence.
REST GOWN (as sketch) be¬
comingly cut on Greek lines in
rich quality Lyons Brocaded
Velvet on Chiffon and Ninon
grounds, trimmed with Skunk
Fur ; long Chiffon sleeves, and
finished at waist with girdle of
Old Gold Galon.
Price 8^ G ns
Also in rich Chiffon Velvet in
fashionable colours.
CATALOGUE POST FREE.
Debenham
&Freel)ody.
Wigmore Street.
(Cavendish Square) London.W.
Famous for over a Century
forTaste.for Quality,for Value.
I ^ ' ' ■ Debenhams & Freebody
' - qqtg (race its history back to
. * ' ‘ f 8 when it began as a
1 ' r haberdashery business in
y ^ l ore Street.
0 4 i Overdo centuries it grew to
^ i c j^shof)|Ding in the grandest
> * > nrtdnner rivalling any fashion
if- \ \ _JhaT\^gs available in London,
v Paris or New York.
Lv ^ ¥ . x s ~tt wc\s through Debenhams
\ \ ” that modern standards of
S 41 \ tastfe, quality and value first
evolved.
X v IrVfhe 90's Debenhams has
| \\ ^ \ e^rNed its reputation as the
J \ ^country's favourite family
^ * ' store. It still provides the same
traditional values of fine
\ quality and style while
constantly moving forward
with exclusive brands,
PHPHf contemporary designs and
fashions for today's
generation.
Vogue March 1916.
Rest gown 8 V 2 Gns
Vogue June 1991.
Classic stretch satin shift £59.99
.
vV
frafe
a**
lik,
mexico's
best kept secret
■ he first bottle of Corona Extra beer
was brewed in 1925 by the Modelo
Brewery In Mexico City.
For a number of generations,
Corona was Mexico’s best kept secret:
a favourite of surfers, marlin chasers,
and locals.
Its unique packaging of an elegant,
clear glass, long-neck bottle with the
distinctive blue and white painted
label (imitated by many), captured the
imagination of all who tried it.
Now, of course, the word’s out.
The reaction, now legendary, caught
everyone by surprise. Corona is a
leading import in the US, Australia,
New Zealand, Canada and Japan.
And here in Europe, it’s the fastest
growing Mexican beer. By far.
CORONA EXTRA.
PREMIUM IMPORTED BEER FROM MEXICO.
Exclusive Agents: World Imports Limited
London
For details of featured merchandise contact:
The Wholesale Showroom, Burberrys Limited, 165 Regent Street, London W1R 8AS. Telephone: 071-734 5929.
BURBERRYS IN THE HAYMARKET, REGENT STREET AND KNIGHTSBRIDGE, LONDON;
BURBERRYS IN GLASGOW, ABERDEEN, EDINBURGH AND IN ST. HELIER, JERSEY, CHANNEL ISLANDS.
A selection of Burberry clothing and accessories is also available from Harrods and Selfridges in London.
UGU
This number a
Forecast
OheShdhm/M
Somber
°f
Autumn Fashions
■ XAUtmx Ntt Tv
CUM)!.
co.v/)/ vm
VOGUE
VOGUE
VOGUE
<T 7 im number u
EO RECAST
Spring Fashions
• LalrFttmaiyt
VOGUE
VOGUE
VOGUf
VOGUE
VOGUE
VOGUf
VOGUf
THE ALL-GAS KITCHEN
Shotvinj* gas cooker. «as hoi plate.
2»» water heater, ami sas hrc. with
ca^-ftreil refute destructor above.
D URING the War the rationing of food and fuel made it difficult, if not impossible, to offer entertainment to guests in
one’s own house. But the coming of Peace has changed all that. Peace has done much to restore the habit, so dear
to the British heart, of giving little lunches or dinners to a small party of intimate friends, without always l>eing
obliged to take them out to a public restaurant.
But the real home must be furnished with an ideal kitchen in order to meet this need adequately. A poorly-cooked
dinner may turn the whole evening into a failure, and to avoid that dismal happening the first essential is an up-to-date
gas cooker. *
Gas has also solved the problem of refuse destruction. The only safe way of disposing of refuse is cremation, and the two perfectly clean as
well as economical methods of doing this are (i) by means of a small coke stove ; or (.») by a uas incinerator. * y
The special Household Economy S umber 0/
"A THOUSAXD AM) OSE USES FOE o IS '
• will f>< int to any interested reader.
Flans ant specifications of houses specially designed by eminent members of the prefessim for
Jilting with gas appliance, will be sent t» Architects or then dealing with Housing Problems
THE GAS LIGHT & COKE COMPANY
HORSEFERRY ROAD, WESTMINSTER S.W.I
14
In the 1990’s we’ll be
encouraging you
to spend less money in
your kitchen.
Running this dishwasher
on gas heated water could
reduce your cost per load.
The new gas tumble
dryer is up to 70%
more economic.
It's almost 70%
cheaper to cook
with gas.
|HHE3|0
mmSStM
if#
_ .yi-^
It’s well known that gas cookers are extremely
economical to run. So you’ll be pleased to know that
with the developments of the gas heated tumble
dryer and hot-fill dishwasher, you can save even
more money.
And as gas is such a clean and efficient fuel
you’ll not only be saving time and money, but you’ll
also be doing a little bit b ^
to save the environment. British Gas'
Assumes gas price 44.3p/therm. Electricity price 6.83p/kWh. Gas water heating
efficiency 40%. Standing charges and maintenance not included.
15
WOMAN’S BOUTIQUE
20, BROOK STREET
LONDON W1
tel. 071 - 4952306
MAN’S BOUTIQUE
84, BROMPTON ROAD
LONDON SW3 1R
tel. 071 -5818736
16
VOGUE 1916-1919
W hen British Vogue was born - in the autumn of 1916 - one’s
vendeuse was likely to reply: “Mourning, madame,
mourning,’’ when asked about the spring mode. “Zepps”
menaced the skies over London; enemy submarines
infested the shipping lanes; the boom of Big Bertha was
felt on this side of the Channel. Coal, severely rationed, cost a penny a
lump; all food was in desperately short supply, and potatoes
mysteriously disappeared altogether. Vogue suggested, “We should all
be Potatriots”, and showed attractive
gardening costumes. The cook puzzled
over “margarine”, if she wasn’t working in
a factory instead. Young men on leave
from mud and blood danced hopefully in
khaki to jazz on the gramophone. Vogue
advised on “Leave Trousseaux: make it
your business to see that he carries away
with him a refreshing vision of loveliness -
and in particular, avoid the masculine.”
The first years of British Vogue remind us
that cest la guerre applied to everything -
especially startling social and economic
disruptions - but change was the spirit of
the age. The Great War simply ensured
that traditional ways of thinking and living,
“suspended for the duration”, were never resumed. Demolition of the
old order had begun before the war, and the technology of the future was
already in place. The skyscraper and aeroplane, the automobile,
wireless, telephone and cinema were no longer novelties by 1916.
Cubism and Futurism celebrated the speed of change and of modernity
inventing itself. Vogue reported every development, sometimes in depth
- Roger Fry wrote on modern art, sometimes with breezy detachment -
Vogue's female cartoonist, Fish, was often detailed to pull the fuse on
contentious issues, but never missed a trick. Women’s suffrage found its
way into the fashion copy - “Beauty will cast her Vote” - in reference to
a hat. So did Sonia Delaunay: “Futurism has made its influence felt in
the world of fabrics.”
In 1916 Vogue dealt in a familiar way with
Einstein, Bolshevism, trade unions,
psychoanalysis, Cocteau and the Rus¬
sian ballet. The strictures of war did not
prevent the most extravagantly escapist
fashions. Society actresses and
stars such as Lily Elsie were
graphed for Vogue in Poiret’s “barbar¬
ian” or oriental designs which showed
the influence of the Russian ballet: . The influenza Epidemic
gold-tissue and
silver-lace tea
gowns, fabu¬
lous decorative
embroideries,
gowns with
chiffon butterfly wings and trains with a monkey-fur fringe, striped silk
Turkish trousers, turbans and ostrich feathers. While London modistes
were more likely to sell the relatively restrained elegance of Chanel and
Lanvin, fur of every description was worn. Vogue tartly observed: “Some
of one’s friends are hardly recognisable with a litter of young leopards and
tiger cubs draped round their shoulders. Bond Street has the air of a
primeval jungle.” By this stage of the war, there were coal-less Mondays,
and fur was worn indoors and out.
By showing the most exotic French fashions, Vogue was determined to
stress the ideal, to lend a bit of cheer to the proceedings, but it never
shrank from reality. In “Dressing on a War Income”, a regular feature,
Vogue asks readers to “wear silk for economy” as wool is in short supply
(what there is is sent to the Front), and suggests women should slim to save
fabric. By the winter of 1918, wool was rationed to four-and-a-half yards
per dress. Vogue talks bravely of the “new, patriotic, slim silhouette”.
In the darkest days Vogue reassured its readers: “We are not ashamed to
admit that we cannot afford things, be they oysters or yachts. Now it is
not smart to be ostentatious...” Having sold their diamonds, antiques
and houses in Mayfair to the munitions makers, those on reduced
incomes affected the glamorous poverty of Bohemia: “Chelsea, its
habitat, manners and customs are the last scream of fashion among the
elect... and people seeking after originality and convenience migrate to
the most unexpected quarters-Kensington, Bloomsbury, but above all,
Chelsea.” Vogue recommended Virginia Woolf’s novels, photographed
the Omega Group’s decorations in the latter’s Gordon Square house,
and showed a Cubist portrait of Edith Sitwell, The Editor of Wheels , by
Alfredo Guevaro. Studio portraits of
Lady Ottoline Morrell and Vita
Sackville-West were featured in
the Society section. Hau
Bohemia, however, was out
numbered by the elegant
young war widows and their
children... “Lord X, who is
seven, has succeeded to
father’s titles.”
Life went on - but, as Vogue
observed: “Everything is now
Topsy Turvy - and the onl
things Not Done are the things
We Used to Do. Peers’ sons choose
the most unexpected brides. Daughters
of great houses make romantic matches, that would formerly have been
taboo, with artists, or subalterns of Indian line regiments - any old thing.
Now, Romance and the population twenty years hence are the fashion,
and sympathy is with those who love and follow the drum.” (The
reference here is to the engagement of Lady Diana Manners to the
penniless young officer, Duff Cooper. Vogue later reports that they set up
house in Bloomsbury.) Life went on, but it would never be the same again:
“The burning discussion of the hour is servants, or the lack of them...”
Vogue as usual determined to look on the bright side, while allowing its
readers the pleasant frisson of mock ruefulness: “Time was when we
prided ourselves on being exclusive, and of knowing beforehand whom
we should meet at any given place. Now, we all seem to take our meals at
restaurants, with a heterogeneous ‘Everybody’... which, to be smart,
must include a revue artist or two, preferably American” - like Irene
Castle who often modelled for Vogue and popularised the new “bobbed”
hair in 1918 - “as well as a few peers of mature years and youthful
appetites, some racing ‘knuts’, and a duchess wearing nursing kit; and
many one- and two-starred heroes from somewhere gazing unutterable
nothings at pretty ladies whose husbands are elsewhere.” 20>
1, Clara Kimball Young, 1918, in a Lucile
tea-gown; they were often nothing more
than fragile chemises of glittering chiffon.
2, post-war freedom: 1919 Vogue reports
"the spectacle of a young woman... taking
a small powder-puff and mirror from
a tiny bag and actually - my dear, I do not
exaggerate - actually powdering her nose
in the presence of the young man with
whom she had just been dancing." 3, organ
isms from the flu epidemic which caused
more British deaths than World War I. 4,
the success of C.R.W. Nevinson's show
at the Leicester Galleries in 1916 led
to the appointment of other war artists.
5, Modigliani's Nude Young Woman , 1919
COVERS (PAGE 13) BY HELEN DRYDEN, GEORGE LEPAPE, FRANK X. LEYENDECKER, GEORGE PLANK,
ETHEL RUNDQUIST, RITA SENGER, HELEN THURLOW
17
THE RITZ IX BLACK SATIN AND KHAKI
Now it is true that the Ritz is not as gay as
of yore, as regards frocks. I glanced about the
room where on all sides waves of black and
khaki seemed to rise and break against the
tea-tables. The black was feminine satin
and velours de laine, and the khaki-^masculine
of course—belonged to Englishmen on leave; for
as everyone knows, when an Englishman is de¬
nied his brandy-and-soda he drinks tea. How¬
ever, the frocks were sombre and, for the most
part, of a certain age.
FROCKS MUST HAVE TIIEIR DAY
Never has l aris been so dull and dark and
cold as it has during the past few weeks, but with
gas and electricity reduced to the vanishing
point, one still thinks and writes of frocks.
1, the popularity of Diner de
fete meant that many evenings
were spent looking nonchal¬
antly around the dinner table
from beneath an "amusing"
headdress. 2, the dividing line
dissolved between Lucile's
flower costumes for the
Ziegfeld follies, 1917, and her
evening dresses. 3, Society
portraits were overshadowed
by the war; here, Mrs Vernon
Castle whose husband "has
seen considerable service on
the Western Front, and is
among the missing". 4, Rodin,
at work with his pupil, Henriette
Bardey, 1916.5,.. how
absurd her husband is to carry
on in that ridiculous way just
because being tired, she had
to sit somewhere, and, as there
was nothing else to sit on, the
thought just flashed on her: 'Why
not sit on Mr Stuyvesant?'"
6, with presentation at court
temporarily halted, Vogue
advised mothers on how a girl
could go out without "coming
out". 7, during the 1918 petrol
shortages Vogue considered
"the remote prospects of
being able to drive a thirsty,
eight-cylinder car on the by¬
products of household waste "
UNPRESENTED BUT EMINENTLY
In the Complete Lexicon of Well-groomed
Youth, There Is No Such Adjective As
Overdressed ; The Smart Young Girl Knows
That in Her Simplicity Lies Her Charm
PRESENTABLE
PARIS MODES THAT CROP UP HERE AND THERE
N O food—no frocks—
no fun,” laconically
announced Florinda,
her elbows resting
comfortably on one of the
tiny tea-tables at the Ritz.
“No food?*’ I looked about
at trays piled with the usual
frivolous little cakes, at siz¬
zling heaps of toast on near¬
by tables, jugs of cream, and
all the usual evidences of
plenty.
“Well, sugar's growing
scarce.” and she surrepti¬
tiously abstracted a few
lumps and slipped them into her muff. “And as
for new frocks—** here she broke off helplessly.
8, Aeroplane by C.R.W. Nevinson,
from his 1916 exhibition. 9, in 1916,
it rained so much in Paris that
umbrellas became the essential
accessory; made in all shapes and
colours, the most fashionable had
gnarled-wood handles. 10, oriental
fashion: a Chinese velvet evening
We Vote for the Straight Silhouette, but We Can¬
not Deny the Existence of the Tonneau, Alias the
Melon : Satin, Tussore, and Jersey Are the Fabrics—
As to Trimming, When in Doubt They Embroider It
of low laughter
“1*11- admit,' I said slowly,
"that there are no frocks. It
is the war, and war isn’t
funny.”
W e were passing out a lit¬
tle later, Florinda in advance,
when 1 noticed a small white
object in my path, a lump
of sugar, another and an¬
other; the sugar was falling
from her muff. And in the
malicious silence 1 followed
the saccharine trail that
wound in and out among the
tea-tables, where smiles gath¬
ered and broke into ripples
After all, it was funny,—but
i’ll never tell Florinda,
wrap trimmed with fox, by
Reville and Rossiter, 1916.
11, Mrs Vernon Castle in a
wedding dress by Callot;
net draped over white
satin and embroidered in silver
and pearls; "the merest glance
at it is enough to make one rush
into matrimony." 12, "Rossetti is
insistently exhorted by George
Meredith to come out into the
glorious sun and wind for a walk
to Hendon and beyond." Max
Beerbohm's series of caricatures
on the life of the Pre-Raphaelite
painter were well received by
Vogue : "Max is less violent in
these cartoons than in any he
has executed, but he is more
Max , more poignant. Caricature
is here elevated to the province
of pure fantasy, which is never
far from Beauty, wherein truth of
some kind must reside." 13,1916
Parisienne chic: the actress Eve
Lavalliere's dining-room
decorated by Jils Garrine. 14, with freezing winters
and the price of coal higher than ever, fur wrapped
and trimmed everything. Here, a white velveteen
skating dress trimmed with rabbit fur, 1916
19
<17
Vogue reported whatever was talked about in Society, not least
the wartime diversions of the young (though it worried: “Who
will there be left for them to marry? New York has taken our
best parties, the Chorus has taken the rest.”) But it did seem
rather unsure of the fashion for “evenings dedicated to the cult
of La Haute Boheme. Up in the ballroom an excellent band is
playing ragtime; there are clever, ugly faces of painters and
actors wearing velvet jackets instead of regulation evening
dress. Sometimes a girl will leap to her feet and execute a wild
passeul , just to please herself. Guests enjoy themselves in any
manner that pleases them... one may sit in a corner all night
speaking to no one, or reading a book. Among the whole party
there is an atmosphere of complete sans gene and freedom.
The party ends in a wild scream of joy at 6am to the intense
discomfort of the rest of Belgravia.” This slightly tut-tutting
description is a vivid, eye¬
witness account of the old
social order as past: Vogue
was at the birth of the new. ■
1, ballet attracted the best and most avant-garde
designers, composers and choreographers of the
time, and none more so than Diaghilev's Ballets
Russes: the three Chatelaines - Doris, Revalles
and Pflanz-from Till Eulenspiegel created
by Nijinsky during his internment in "Buda Pesth"
at the outbreak of war. 2, choreographer Leonide
Massine as the Chinaman in Jean Cocteau's
Parade designed by Picasso and directed by
Diaghilev. Vogue claimed that "no ballet of
recent years has created the discussion - not
to say fury - aroused by the first production."
3, Marie Rambert, founder of the Ballet Rambert,
dancing in 1919: "Her art is full of delicate taste
and technique." 4, Paul Poiret's Jardin de Danse
f
CITer* r
was the hottest Paris night¬
spot in the summer of 1919:
the maison de couture "was
transformed into a harvest
field, or a circus... Promptly
at nine the garden gates
opened on a scene of
enchantment subtly designed
to appeal to all the senses";
5, "L'Equateur fete", with
palm trees and grass skirts;
6, guests leaving the garden
at midnight. 7, Geraldine
Farrar, on stage at the
Metropolitan Opera House
in New York, singing Puccini's
Sister Angelica, 1918
“ L’OASIS ” is the BRILLIANT GALA SPOT for PARIS FETES
Every Friday Night, the Garden of Paul Poiret was Turned into “L’Oasis,” a Place
4 of Magic Fetes That Might Well Inspire Gardens and Ball-rooms in Other Lands
20
Straw was in short supply at that
time and the most chic formal hats
were made of satin or ribbon,
8, and swathed with monkey fur
or ostrich or paradise feathers.
Oriental dancers: 9, Ruth St
Denis; 10, Miriam Marmein;
11, Anna Pavlova.The oriental
costumes of the Russian Ballet
were the greatest single
influence on fashion. Designers
from Paul Poiret to Chanel
dressed their clients d la Russe in
striped furs, beaded embroidery,
silver lace, Turkish trousers,
turbans, barbaric jewellery,
beautifully lined cocoon coats
and gold-tissue tea-gowns
12, an engagement
photograph of Lady
Diana Cooper,
then Lady Diana
Manners, in 1919,
the first of her many
appearances in Vogue.
13, Augustus John's
portrait of
Margheretta,
Lady Howard
de Walden
r/i «'"f>agne of Table
< TT/je ^Battle-cry'
9 of the jellies :
“A fight to a finish in War and Trade . 59
“Scotch and Perrier”—a Perfect Entente.
Perrier stands as the great representative of France
against Apollinaris and other German Waters.
VOGUE - ISSUE NO.l - SEPTEMBER 15TH 1916.
THE ART OF TRAVEL
Oil a magical journey through time with Louis Vuitton
T he name Louis Vuitton is certainly one to conjure with, for it is
synonymous with all that is magical for the traveller. Indeed, it was that
very “dream of travel” in those far-off, unhurried times, that first inspired
Louis Vuitton to create the thoughtfully crafted, luxurious trunks which have
accompanied the discerning voyager through many decades.
His shop, first opened in 1854, in rue Neuve des Capucines, Paris, was
patronised by the rich, famous and celebrated. Their fervour for leisurely trips
by train, steamship and the newly fashionable motor car led to some
extraordinary customised inventions in luggage, mirroring the spirit of the
times. For instance, an explorer’s combination trunk and bed, which also held
a mattress and bedding, was used
in Africa by Pierre Savorgnan de
Brazza when he discovered the
Congo. To this day, Louis Vuitton
will equip the traveller with what¬
ever his heart desires, be it for a
journey to the Poles, the Tropics,
or anywhere in between!
The spectacular success of the com¬
pany saw their expansion into the
first London branch in Oxford Street
in 1885. Another move followed, to
the Strand in 1892. It was decided
that this was an auspicious moment
to publish a catalogue advertising all
the goods manufactured in Asnieres.
Hand-covered trunks, some
camphor-lined “for India or the col¬
onies”, pigskin bags with accessor¬
ies, ladies handbags and portable
clothes-cases, bed trunks and picnic
baskets complete with specially
designed Vuitton cutlery, canvas bags with a leather case for soiled linen all
clearly illustrated the company’s progress. In the catalogue, “Louis Vuitton
begs his esteemed customers to bear in mind that any trunk made, for instance
to carry photographic apparatus or riding equipment, as well as any other
special fittings, will be executed to conform in every way to each customer’s
specific requirements” - a statement echoing present-day policy. Louis Vuitton
died in February 1892, a month after the Strand shop opened, and the business
was then run by his son Georges. Finally, in 1899 a shop was opened at 149 New
Bond Street, making this the oldest Louis Vuitton address in the world, a little
piece of tradition which will appeal to the true Vuitton enthusiast. Whereas in
an earlier time the excitement had
been in the packing and preparation
for the leisured journey, the Twen¬
ties heralded a change of pace - the
pushing back of boundaries: a
New Age. And, at the commence¬
ment of the roaring Twenties, Louis
Vuitton stood as the world’s fore¬
most creator of quality luggage and
accessories - again matching the
mood of enterprise and adventure,
t was in this era that women
became truly independent,
throwing off their constrictions
and corsets. Women such as Coco
Chanel, Mistinguett and the actress
Yvonne Printemps were at the fore¬
front of the type of “Modern
1, an early English advertisement heralding the opening of the Louis Vuitton shop in the
Strand. 2, one of the first advertisements in British Vogue, July 1924.3, the actress Yvonne
Printemps travels to the US with her personalised Vuitton trunk, 1927. 4, "Le Milano"
toilet case, exhibited by Vuitton at the 1925 Exposition des Arts Decoratifs
TRAVELLING
CLOTHES FOR THE NORTH
23
WARDROBE TRUNKS
The Wardrobe Trunk spells
“ convenience" solely on the
method adopted in its construc¬
tion, there being a place for
everything, hats and shoes in¬
cluded.
The entire of one’s outfit can
be packed without trouble or
delay and, above all. Suits and
Dresses can safely be carried
without any fear of bad crushing,
so much experienced by users of
the ordinary trunk.
Wardrobes in all types, from a
cabin size to a full size capable
of holding 15 suits, can be seen
at the showrooms of
LOUIS VUITTON
149 NEW BOND ST.
LONDON, W.1
¥
:. STERN. IT. f > Nr, >, t . PARIS
J ROTHSCHILD & FiLS. *, ■ 2
1, a 1929 ad showing luggage
for "specific requirements"
including a pharmacy box and
hat-and-shoe trunk.
2, a 1929 photograph showing
Louis Vuitton luggage for the
motor car. 3, a whimsical shot
showing the lighter side of
Vuitton. By the photographer
Jacques-Henri Lartigue.
4, wardrobe trunks enable
Twenties travellers to journey
and arrive in style.
5, luggage for every occasion,
including the perfect
honeymoon
3
Woman” for whom Vuitton produced special items. A toilet case dedicated to
the famous opera star, Marthe Chenal, was first presented at the Exposition des
Arts Decoratifs in 1925. In the best fabrics, it held cut crystal, gold-stoppered
bottles and speckled tortoiseshell brushes and accessories. The singer Lily
Pons had a shoe secretaire made - with room for thirty-six pairs of shoes (1925);
every drawer was painstakingly labelled for a specific pair. In 1924 the
“Keepall” travel bag was designed. Still produced today, it is roomy and light
and can be folded flat to store as a spare in the bottom of a suitcase.
A mong the many celebrities travelling with the legendary luggage were
the Duke of Windsor, the Aga Khan, the oil magnate Gulbenkian
and a host of Indian maharajahs. In fact, the Maharajah of Baroda’s
wonderful tea-case - for use while tiger hunting - was designed for him by
Vuitton in 1926.
Working with illustrious artist craftsmen such as Puiforcat the silversmith.
Baccarat and Lalique, Vuitton was much involved in embellishing the elegant
motorcars of that period. A
picnic box holding a soup
tureen, four dishes, twelve
plates and six goblets, all in
solid silver by Jean Puiforcat,
was part of a complete set of car
accessories ordered by an
Egyptian prince in 1926. After
his thirty-three-hour Atlantic
flight in 1927, Charles Lind¬
bergh visited Vuitton in Paris
to purchase a couple of cases.
He then journeyed home - this
time by sea!
Early forays into advertising
had included the London cata¬
logue, way back in the 1890s
and, in 1925, Louis Vuitton’s
grandson, Gaston’s innovative
invitation at the end of an
article in L'Art et la Mode to
“fill in and return an attached
coupon, and the firm of Vuitton
will send you by return mail all
the information you require.
We are sure that this favour will
be appreciated.” This under¬
stated approach, the antithesis
of “hard sell” is the basis of
Vuitton’s enduring relation¬
ship with Vogue. Ever sensitive
to current trends, yet sharing
an unwavering tradition for the
quality of life, Vuitton’s regu¬
lar appearances in Vogue
truly cement a “fellow feeling
of a wondrous kind”. The
company’s involvement with
the great photographer Jean
Lariviere has further consoli¬
dated their endeavours to
encapsulate “the dream of travel” and has enriched the photographic
archives of the House of Vuitton.
Serious sponsorship for such events as the America’s Cup Challenger series -
with which the company has been involved since 1983 - and Concours
d’Elegance illustrates Vuitton’s commitment to the very activities that inspired
so much of its impeccable luggage.
Today’s traveller can take his pick: classic steamer trunks for ocean voyages;
easily stacked traditional rigid luggage; travel bags and soft-sided suitcases
for planes and boats and trains. On purchasing, he will be given his individual
lock number, his for life, for all his personal luggage. And there are also a
myriad of beautiful Perennials to choose from in the current collection, cover¬
ing every aspect of town and travel - as well as the stylish “Epi” leather line in
glorious shades. For behind the deceptively static image, the company
is moving fast, always introducing new materials and models: the evolution¬
ary and revolutionary products that keep Louis Vuitton several steps ahead.
Beverly Alt
MARRIAGES & PRESENTS
or THE HONEYMOON OUTFIT
M U -H h*« Iwn written ,.:kI said ennceniing the charm of the honey¬
ing ii. during which «ho bride and bridegroom think and only care o;
their future happiness. Therefore relative* and friends have an almost
<.i n J task m assisting then young traveller* on the ocean of life by all
means in their power, and in preventing them with gilts whose value is
known by past experience. I» not one of the most delicate thoughts the
idea : i providing the a.tua! equipment, thus simplifying the first difficulties
■ •t th, voyage by starting with the outfit of travelling trunks and fitted
.i-o which. .nriYcv already the semblance <>f home? A practical and
•rti-tic fitt.-d c.vc. a set of tittnsgs for the toilet table, and especially roomy
■ nd a . II defened trunk* -ueh is the pr sent vogue in the realm of Gifts, to
ahah th. world fam -us Mo, -e ,.t LOUIS VUITTON has so greatly eon-
tributej by the peil-ction of his traxkls and the distinction < t ths-r design.
The devrtptive catalogue. ” Trousseau* and Droving Cases." which will he
-• nt -in request, reveals hitherto unsuspected po**rbsiittcs of comfort.
Capable o» satisfying the mo*t attentive requirements of relatives and or
demonstrating the reality ol the well known saying
Bin VUITTON TRUNKS <md fx
LOUIS VUITTON
VUITTON LIMITED
lay NEW BOND STREET
6, to the Poles with Vuitton
and Jean Lariviere
Greenland (1985).
7, "shoe secretaire"
designed by Gaston
Vuitton for the singer Lily
Pons (1925). Typical of the
type of order still available
to Louis Vuitton customers
today. 8, a Jean Lariviere
photograph for Vuitton
epitomising "the dream
of travel" Nepal (1979).
9, caviar case in green,
"Epi" leather, designed for
the exhibition 'a Table' at
the Pompidou Centre, Paris
1987 made to special order.
10, a photograph by Jean
Lariviere for Vuitton from
the current advertising
campaign, Rajasthan
RIP
25
PHOTO KARL LAGERFELD
FENDI
« ^ (£ |
m' '»<•!'
-«^I1 >
V1\flllS
t • <lli'IK'
MtlS ji Ml*'
INCLUDING
/UMMER /All
(Jna- Cite SLlhfj
ii m\
Asprey craftsmen Iiave been making
silverware for over 200 vears.
A
s you can see, progress is slow.
Robert Hammond is one of 15 silversmiths working at Asprey. He’s been crafting
silver and gold in the workshops above our Bond Street store since he was 15 years old.
After 40 years, he still uses the techniques he learned as a young apprentice.
Many of the tools he has made over the years are even now in constant use.
In Silver smithing, the traditional ways are usually the best ways.
Every piece our craftsmen create has one essential ingredient - time. This
silver trophy will take more than 240 hours to complete.
It’s impossible to quantify the range we offer, because we’ll make anything you
ask for - in silver ; gold, or any precious metal or stone - designed and made to the
standard of excellence that is synonymous with the Asprey hall-mark.
Asprey is well known for fine silver. But never quicksilver.
NEW BOND STREET, LONDON FENCHURCH STREET, LONDON FIFTH AVENUE, NEW YORK
071-493 6767 071-626 2160 (212) 688 1811
AUSTIN
REED
From 0 to 75 in Style.
Austin Reed take pleasure in congratulating VOGUE for
75 years of always being in fashion...We also take
pride in our own 91 years of classic English tailoring...
A tradition of creating fine clothes for men and women,
with an unmistakeable blend of style and quality.
AUSTIN REED OF REGENT STREET• BRANCHES IN LONDON AND NATIONWIDE
CHARLES HEIDSIECK. IN VOGUE FOR 75 YEARS.
CHAMPAGNE PRODUCED EXCLUSIVELY
FROM THE FIRST PRESSING AND AGED
IN ROMAN CHALK CELLARS.
31
DAILY SKETCH, SATURDAY, SEPTEMBER 23,1922.
Qn9n\>itation
A most cordial invitation is extended to
Ladies to visit our palatial establish¬
ment in Oxford Street during the
GRAND OPENING WEEK, SEPTEMBER
25th to 30th.
The whole of the 39,000 sq. feet of floor space will
be devoted to a wonderful exhibition of all that is
newest and best in
AUTUMN & WINTER GOATS GOWNS
COAT FROCKS COSTUMES
FUR COATS JUMPERS
GIRL’S COATS SKIRTS
DAY & EVENING FROCKS BLOUSES
KNITTED GARMENTS
In these particular lines in which we exclusively
specialise our stocks will be the largest and most varied
in London, whilst Ladies will find the values offered
without precedent in the history of the Trad~* !
Spend the morning or afternoon in our vast show¬
rooms, wander from floor to floor at your leisure,
inspect and handle the goods—and purchase if you
will.
Doors open 10 a.m. Monday next.
Usual business hours 9 to 6,
Write for fully il/uitrated Bargain Catalogue—tent
poet tree-
A GRAND FESTIVAL OF FASHION
BARGAINS WITHOUT PRECEDENT.
376-384
OXFORD STREET
LONDON, W.l.
ONE BLOCK
FROM
SELFRIDGES
WE'VE ALWAYS BEEN
IN VOGUE.
32
VOGUE 1920-1929
T he Roaring Twenties began with a whimper. Vogue described the
London Season of 1920 as “stifled with strikes, huge taxation, an
old nobility glad of a crust in the country, Paris gay with war
profiteers and not much else, and New York a place where
millionaires meet to talk of the workhouse.” Four years after the
Armistice, demobbed men begged on street corners; there were petrol
shortages and rationing; unemployment had risen to two-and-a-half
million; the rich wore furs indoors because of coal shortages. Vogue' s
social pages showed widows in Red Cross uniform and war medals and
featured trousseaux for second weddings. But one in seven men had
perished in the war, and upper-class women cultivated alternatives to
marriage - careers in literature, art, politics - and revelled in their
emancipation. The pages of Vogue in the Twenties suggest that every
third socialite (whether nouveau pauvre
or just pretending) became a photogra¬
pher, opened a dress shop, wrote poetry,
or “painted”. It was not until 1924 that
“the Twenties” were in full swing - after
the stringencies of the first Labour
government had given way to the
Conservatives. Tout le monde was a
bunch of loose marbles bent on fun and
sport; kings and princes (in and out of exile) and emigre Russian grand-
dukes infested Paris and the Riviera, mooched around Mayfair, and
joined dukes and maharajahs for the shooting in Norfolk. What Vogue
called “Society gypsies” gathered in Venice for parties, wintered at St
Moritz, went on safari to Kenya. They travelled in a steady stream to
New York and Palm Beach to pick up on the latest cocktails, slang,
entertainers- and American heiresses. Old Families mixed with the new
celebrities: women tennis stars, people from the theatre and the arts,
and self-made men such as the American Gordon Selfridge who gave
wild parties on the top of his Oxford Street store and kept both the Dolly
Sisters in ermine and pearls. The notoriously charming negro nightclub
singer. Hutch, had famous liaisons with more than one titled woman. By
1924, the barriers of class, colour, and even gender, had tumbled.
The jolie laide was chic. As Cecil Beaton
explained to Vogue readers: “Our standards
are so completely changed... that we can
only say, ‘But we prefer flat noses and chests
and schoolboy figures...'” He declared,
“This is the day of thumbs... even when
fashionable hands are clenched the thumb
must protrude like a cold chicken leg.” The
spirit of Dada and Surrealism invaded
country-house parties. Never had society
been “freer” than in the Twenties, when
everyone had read Freud and could talk
about sex and had no wish to seem
repressed. Vogue's social chronicle, How
One Lives from Day to Day, written
anonymously by Cecil Beaton, was a hectic round of
impromptu bottle parties, midnight scavenger hunts
and other deliciously cheap thrills. There was an
epidemic of fancy-dress parties, and the utter acme of
existence were surreal extravaganzas such as Elsa
Maxwell’s ball where guests milked a mechanical cow for
champagne. When Vogue respectfully noted the two royal
weddings - the Princess Royal’s and the Yorks’ - it was
evident that royal coverage was seen as a calming pause in The
World We Live In, which spiked its cocktails with Dexedrine
and wore backless dresses to show off its suntan.
If Vogue allowed Cecil Beaton’s breathless publicising of the Bright
Young Things - “Lady Diana Cooper will undoubtedly be cited in future
history books as the most famous and clever beauty of our time”, down
to the last intricacy of the Prince of Wales’s sentimental life (in code) - it
also gave work to the Bloomsbury Group. Vogue's Hall of Fame included
everybody who was (or was going to be) Somebody Creative. From
Bunuel to Maynard Keynes, it ran the gamut; sometimes the tribute was
unintentionally comic. Vogue nominated Harold Acton, still at Oxford,
thus: 'Because he has already produced several volumes of verse, the
latest of which. The Indian Ass , has had considerable success.” T.S. Eliot
fared a bit better: “Because The Waste Land seeks to render the
complexity of thought and emotion characteristic of modern civiliza¬
tion. . . he has, metaphorically, the highest brow of any man alive.” The
Russian Ballet productions of programmes by Stravinsky, Rimsky-
Korsakov, Poulenc and Satie were fabulous. Reporting on the decor for
the ballets. Vogue published Man Ray’s photographs of the set and
costume designers: Braque, Picasso, Matisse, Derain, Ernst and Miro.
Vogue printed Man Ray’s Rayograms, announced the Bauhaus at its
inception, and showed photographs of Le Corbusier’s house - “A Style
tor the Present Age” - which made an astringent contrast to
Bloomsbury daubs. Virginia Woolf, Dorothy Richardson,
Evelyn Waugh, Raymond Mortimer and David Garnett
contributed literary reviews; there were drawings by Jean
Cocteau and Wyndham Lewis; essays by Aldous Huxley.
3 And everything produced by the Sitwells, those social
and artistic paragons, was particularly noted.
Vogue spelled culture with a capital C, and
thoroughly relished the excitement and glam¬
our of the age. Whatever was in the air - from
birth control, sun worship and physical culture, to the discovery of
Tutankhamen’s tomb - the preoccupations of the time were all reflected
in frocks. Patou’s autumn collections for 1929 accurately predicted the
immediate future. His hemlines plummeted - and the world economy
crashed. Right on cue. The party was over: Vogue's December issue for
1929 sympathetically extols the delights of Staying Home. ■
1, Le Jouet Delicieux, by Jean Cocteau, 1925. 2, Cecil Beaton's idealised
debutantes, 1928: the Hon Georgiana Curzon, Lady Anne Wellesley,
Miss Nancy Beaton and Miss Deirdre Hart-Davis. 3, between 1923-1929
Vogue's food pages were written by Marcel Boulestin. Parties, dancing and
dressing-up were the lifeblood of Twenties society: 4, Iris and Viola Tree,
daughters of theatre impresario Sir Herbert Tree, 1926; 5, designer Oliver
Messel with his sister Mrs Ronald Armstrong-Jones;
6, Miss Elsa Maxwell and friends
1920-1929
the mode goes": before waists dropped to the hip, fringes were all the rage.
In 1921 they appeared on sleeves, cloaks and hems and on Vionnet's simple
crepe dress, dropping in silk strands from waist to floor. 8 and 11, Vogue's
guide to Flappers: "Types Without Which No Party is Complete", 1926
Chanel's willowy silhouette
demanded a serpentine
slimness: women pummelled
their bodies with rubber
rollers, played tennis or took
health cures in Baden Baden
to achieve it. 1, black net bias dress moulded over the hips, 1929;
3, velvet evening gown tiered from the hip and dipping low at the back
with matching black velvet fan, 1928. 2 and 4,1922 was the year of the
peasant look with Paquin's quilted coats, Cheruit's brilliant orange and
yellow crepe de Chine tunics and Chanel's bright, Indian embroidery.
5, Doucet's silver velvet dress with narrow, beaded lace sleeves,
softly girdled with a chinchilla-trimmed sash, 1923. 6, "It is a simple
matter to create an evening gown in these days, if one has but jewels
enough": Worth's white crepe jersey dress with pearl batwing sleeves and
a diamond bandeau, 1920. 7, "In Paris, it's fringe that indicates the way
W E
NOMINATE
f or
THE HALL
of
FAME
THE OO-GETTER
Dorot hy it too strong a character
to atk for anything. Hers is alwaj*
the cocktail, the ultimate cig¬
arette and the last word, leaving her
boy friend drinkless, smokeless and
speechless. Scientists say this type
is a cross between a standard vam¬
pire and a standard vacuum cleaner
THE FADE AWAY
No, readers, this is not what you
think. The young lady, the better
half of whom is protruding from
the taxi, has not overestimated the
strength of her head. She is one of
those devastating persons who is
subject to fainting spells and is for
ever subsiding on her poor escort
c; H A X K L
O V K X S
Her
L O X D () X
H o r S K
9, evening clothes could
be breathtakingly
opulent. “Typical of the
splendour of the evening
mode": Lanvin's black
and gold dress
embroidered with coral
beads and crystals with a
flesh-coloured tulle yoke.
Cheruit's cape in metal
cloth shot with green had
a velvet lining and a huge
skunk collar, 1925.
10, “A tantalising mask
for bright eyes":
restaurant hats in 1921
were cartwheels dramatically fringed with
glycerined ostrich and osprey or swagged
with silk flowers. 12, for the first time,
swimsuits were made for swimming and
often cut away at the back, “allowing
maximum sunburn", 1929.13, by the time
Chanel's clothes were sold in London in
1927 her short, simple designs were being
copied all over the world. 14, for day,
women wore tailleurs, immaculately
tailored suits in mannish tweed or serge:
Poiret's “tailleur with an air" in beige serge,
1922.15, silhouettes were sometimes used
to accent the season's important shapes. Here,
a lace-draped Spanish-style hat, 1920.16, Gabrielle Chanel, 1923.17, the
Marquise de Casa Maury in Worth gold lame, 1928. Born Paula Gellibrand,
she was famous for her listless beauty and her Vaselined eyelids.
18, Paul Poiret, 1924. By the Twenties, Poiret's lavishly oriental clothes
were beginning to look old-fashioned and he branched into textiles.
19, Lady Lavery, the red-haired wife of painter Sir John Lavery, sat complete
with harp and shawl as the colleen on the first Irish free state banknotes,
1920. 20, Princess Youssopoff, 1924, formerly Grand Duchess Irene, was
a niece of Tsar Nicholas. 21, Lady Abdy, Russian, ash-blonde and over
six feet tall, sported a particularly sleek shingle, 1926. 22, Lady Louis
Mountbatten: “All agree that she deserves ten out of ten for chic. Her heels
are always wonderfully high," 1920. 23, Viscountess Astor, who became
the first woman to sit in Parliament
1920-1929
1, Rudolph Valentino, the greatest romantic
screen idol of the Twenties. His death in 1926
caused a spate of suicides and his funeral was
a national event. 2, Serge Diaghilev, standing,
director of the Ballets Russes, drawn by
Picasso, 1925: “during the fifteen years of the
Ballets' existence in Western Europe there is
hardly a musician or artist of distinction
whose collaboration he has not procured."
3, Barbara Cartland at the beginning of her
writing career in 1925. 4, Lady Diana Cooper
as the statue of the
Madonna in Max
Reinhardt's
production of The
Miracle. 5, the
Dolly Sisters:
"two bright
particular
stars in that
dazzling
constellation
the League of
Notions at the
New Oxford
Theatre".
6, Lydia
Sokolova as the
Spanish heroine in
The Three-Cornered Hat,
"by far the finest mime in Diaghilev's
company... if she were not a great
dancer, she might make a name for
herself as a great actress." 7 and
11, endless wild fancy-dress balls
raised money for worthy causes:
"only for charity would we condone
such a spectacle!" 1920. 8, Sybil
Thorndike as Joan of Arc in Shaw's
Saint Joan: "I do not know whether
Saint Joan should be called Mr
Shaw's masterpiece. I do know that
he has never written a more deeply
moving play." 9, dance till you drop:
Fred and Adele Astaire in Gershwin's
Lady, Be Good. 10, Claire Luce,
fanning passions with the Ziegfeld
Follies. 12, Ernest Ansermet, principal conductor
with the Ballets Russes, famed for his
interpretations of Stravinsky, drawn by E.X.Kapp
in 1924.13, the Marion Morgan dancers: their
repertoire "is not confined to classical dances...
they change their nymph-like poses for
a barbaric abandon to fantastic rhythms."
14, Tallulah Bankhead poses as the "Divine
Sarah" Bernhardt. 15, Oliver Messel,
photographed in 1929, surrounded by the masks he designed for the revues
This Year of Grace and Wake Up and Dream! 16, Noel Coward, whose work
captured the spirit of the age. 17, Maurice Chevalier and his wife and dancing partner
Yvonne Vallee, when they appeared in the
London revue Whitebirds, 1927
le
on
TAG E
The man who hunts—only at a Costume Ball.'—the
woman who always wanted to be a queen—for her was
fancy dress invented!—Hampstead harlequins. Blooms¬
bury satyrs. West End Helens, and Cleopatras S.H'.
Oh. Charity! what mimes are committed in thv name '
18, Anna Pavlova, the
Russian dancer, "has
earned her title of
Incomparable ... she
remains inimitable in
her flawless technique
and imaginative fire"
19, Somerset Maugham,
in the Hall of Fame
in 1924: "because he
is English and not
Irish like most writers
of comedy"
20, Mistinguett appearing in revue at the Casino de
Paris. 21, the rising star: John Gielgud in 1925. 22,
Frederick Ashton dancing in A Tragedy of Fashion,
1926: "an able exponent of the
modern school of ballet"
MR. SHAW’S “SAINT JOAN”
A Mediaeval Chronicle Play by
the Most Modern of Dramatists
1 and 7, caricatures of Charlie Chaplin by Fernand Leger. 2, the set of
Fritz Lang's Metropolis , 1926; 3, filming the flood scene. 4, Lillian
Gish, one of the first screen goddesses. 5, Nancy Cunard, with her
black-rimmed eyes and strange clothes, was Vogue's Paris
correspondent. 6, brittle and funny, Gertrude Lawrence was the
perfect Noel Coward leading lady. 8, the joint is jumping: Bright
Young Things looked to the rhythms of Dixie and Harlem for a good
time as black culture
hit society with a
vengeance. 9, Josephine
Baker, darling of the
French stage: “she
brings to her dancing
a savage frenzy... the
result is a masterpiece
of grotesquerie and
beauty unlike anything
previously seen in
Europe". 10, private life:
Noel Coward in “the
ultra-modern bedroom
of his futurist flat in
Ebury Street".
11, Virginia Woolf:
“the most brilliant
and enterprising
of the writers of the younger generation".
12, Paul Robeson battled against prejudice
to achieve international fame. He came
to London in 1925 to appear in Eugene
O'Neill's Emperor Jones. 13, E.M.Forster,
1924: “A Passage to India is perhaps the
best novel of the year". 14, revue artist
Edith Wilson “comedy in flesh and speech". 15,
a design by E.McKnight Kauffer, 1926.16, Rosamund
Lehmann, 1927. Her first novel, Dusty Answer, was
“one of the most interesting of the season"
1920-1929
Literati.—We agree that before yj
starting your new book you
should have your hair bobbed.
The modern public cannot be
induced to read novels by
women writers with long hair
Bloomsbury Group, Mary
MacCarthy, was nominated
for the Hall of Fame,
"because she is as witty with
her tongue as she is with her
1^ MSI’ JfflBBji pen." 23, Mrs Violet Trefusis,
1924. 24, the Hon Nancy
Mitford. 25, T.S.Eliot, poet and critic. 26, the Sitwells often appeared in
Vogue, "because they have created a new style in prose, poetry and
decoration... because they are serious artists who know how to be
amusing; because they are such
MAKING THE CHEESE MO BINDING
Skiddle up skat !
Skiddle up skat !
Oh. skiddle up. skiddle up.
Skat ! skat ! skat !
DOING THE SCRONCH
(Left) He, clapping, and singing
Ron kutta tung
Ron ka tung
She, feet firmly set on the
ground, bending and swaying
17, Vogue
advises on
hairstyles
for budding
novelists. 18, Pola
Negri, Poland's answer to Gloria Swanson.
19, Vita Sackville-West, 1921. 20, Charlie
Chaplin, 1926. 21, E.McKnight Kauffer's best 1
known work was his series of posters for
London's underground. 22, one of the
CHARLESTONING ”
(Right) To the tune of a Harlem
madrigal
Dance little black boy
Hey, hey !
admirable hosts and have such an
interesting collection of pictures"
SOME of THE YOUNGER
GENERATI ON
of WRITERS
1920-1929
1, London gallery goers were struck
dumb by the new art and sculpture,
1920. 2, Winter Landscape, by John Nash,
shown at the Goupil Gallery in 1921.
3, Bloomsbury artist Duncan Grant's
gorgeously coloured overmantel,
1923. 4, portrait from Walter Sickert's
exhibition at the Chelsea Book Club
in 1920: "He has never stood on his head
or jumped through artistic hoops for the
amusement of the multitude."
5, L'Espionne , by Jean Cocteau. 6,
A fashionably frescoed bathroom, 1927
A drawing by Picasso which was executed without
lifting the pencil from the paper. These sketches
were made in a spirit of levity not unmixed with
PICASSO
AS
DRCORATOR
17
THE
ARCHITECTURE
OF THE FUTURE
7, Two Women Running on the Beach (The Race), 1922 by Picasso was
enlarged and used for the curtain of Cocteau's ballet Le Train Bleu.
8, Marie Laurencin, the French painter, lived with Apollinaire
in Paris. Although she exhibited with the Cubist group there are
few signs of their influence in her work. 9, drawing by Picasso.
10, interior design for Madame Errazuriz, by Picasso: “when
the spirit so moves him he is a decorator who can make colours mean
more than colours, and lines mean more than lines." 11, mirror library,
Paris 1928.12, Le Corbusier's buildings were as beautiful and
streamlined as steamships. 13, K.Balser's Frankfurt flats, 1929.
14, “Organic" architect Erich Mendelsohn's bizarre Einstein Tower at
Potsdam, 1920.15, Margot Asquith, the Countess of Oxford and
Asquith, 1928. The wife of former Prime Minister Herbert Asquith,
—| she was an established literary figure. 16, “Jean Cocteau
J is one of the most gifted personalities living. In the
j course of his short life he has experimented with almost every
conceivable artistic form and has gained distinction in each."
17, Henri Matisse was included in Vogue's Hall of Fame: "because
like most men of genius he was once considered
either mad or a charlatan... because he
has so many imitators and no rivals."
■ 18, the actress Billie Burke, 1925.
H 19, Iris Tree as the ^
*J nun in The Miracle. ^
|S 20, Tristan Tzara
appeared in the Hall pjSM
of Fame: "because
he invented Dada... r ,.. ,
because he is
a Romanian with 1,1 IJ
I an eyeglass...” •
21, Cathleen Nesbitt, “an
actress of remarkable
gifts," 1925. 22, the Duchess
of York and The Princess
Elizabeth, 1927. 23, Lord
and Lady Glenconner. Their
marriage was one of the
most important social
events of 1925
i
j || jJrajjp*
||T
[
t i
*
42
Arts to c
The cream of stockings and tights.
'Ultra Five', 5 denier look, 15 denier strength.
verity five years old and not a wrinkle in si (
MIOSUMMFR
FASHIONS
f«ICl ONt SKUdNG
Iartik
cun
d
the cr: ^asLieu a lie es
''t entrants
MK •
IT r t
mi
PARK LANtS
A« the Park Lane for lunch
wh»m should I spy hui
v harm mg l.adv Stanley of
AUerkv, Interrupted her
and found her enjoying
a pi sun Dry Martini Ver¬
mouth. lauiy Stanley i* a
great believer in tht* deli¬
cious appetiser, which i» a
fit St-rate directive toni*
into the bargain
l .ROSY l NOR HOUSI
\gain, at the fashionable
(irosvenor House Restaurant l
noticed 1 ad\ Ursula Stewart
l*K»k »ng very voting and eh trrthng.
She also tell* me that she is a
great believer in a plain Martini
Vermouth as a prelude to the
meal. It give* /c*t to the food
and keeps one slim
i hi; cam in pariv
At the smart t ate de Pari*
Restaurant ! saw the evergreen
Sir Seymour Hick* partaking ol
a chilled l>ry Martini Vermouth
with the hors d'oeuvres *—• he
it*nihkn no dinner it a dinner
unless it stan* with a plain
Martini Vcrrmaith
A^IN
i hi; t AIL ROVAI
A glass of plain Martini Vermouth just before the meal or with the hors d’eruvres
is becoming very popular—both in England and America. 1 am told there is definite
health-value in this — the natural aromatic herbs which are blended with the rich,
matured wine give to Martini Vermouth its unique bouquet and flavour, toning up the
stomach and digestive organs; thus ensuring perfect assimilation of food which
incidentally keeps the figure youthful and slim.
Here is I *dv Cynthia
I **thtll sister of the
Lari of Bandon —
dining at the famous
Cafe Royal Grill.
Lady t vntma who has
travelled widely, told
me unite a lot about
the health efTccts uf
drinking Martini Ver
mouth. She maintain*
that it is one of the
more beneficial apcri-
tils — as well as an
excellent drink before
and after a meal.
VOGUE, JANUARY 1939
MARTINI : The dry you are looking for... in Vogue for 75 years
48
The ESCADA legend
has grown with Vogue.
We advertised
the launch of our colle
in Britain
and in the early eight
VOGUE
ran our first eight-page i
Tremendously successj
in its impact, it encourag
to set new standards in a
worldwide.
Today, we continue
to grow with Vogue.
Ours is a unique partnership
that has prevailed
throughout the years.
fJL
Season after season,
collection after collection,
Escada continues
to offer the best of quality,
the positive optimism of colour,
the perfectly suitable
coordination
of well-planned looks to the women
Vogue.
who look first to r
We celebrate
all that Vogue is,
all that it has been
all that it will be,
as we advance our alliance into
the future,
with strength, with spirit,
with style!
ESCADA (U.K.) LIMITED
6 CAVENDISH SQUARE
LONDON W1M9HA
TELEPHONE: 071-5806066
Still life: Sudhir Pithwa.
Sally, Duchess of
Westminster, right,
wearing a ruby and
diamond necklace, by
Hennell,and a Cartier
tiara. The Countess of
Below and left, Hennell crest
and shopfront.
Lord and Lady
Mountbatten,
below left, in
Eighteen-carat gold,
diamond cluster flexible
ring, below, matching
collar and bangle
Ormonde, left,
HENNELL, 12 NEW BOND ST, W1 (TEL: 071-629 6888)
53
coronation robes
Necklace of fine ruby beads with
detachable Burma ruby and
diamond clips, right, designed
for the Duchess of Westminster
in 1932 by Charles Bruno.
Eighteen-carat gold, blue
enamel and diamond Hennell
bow brooch, below
wearing Coronation
regalia and jewels
remodelled by Hennell
In 1799 Admiral \ M M W / Lord Nelson
wanted a silver ser-\. B M / vice for his cabin
aboard HMS Victory. -He went to Hennell.
And it was Hennell who created the exquisite Art Deco jewellery which
Edwina, Countess Mountbatten, wore to such advantage.
Now London’s longest established jeweller and silversmith is opening its
doors rather wider than before; Hennell is drawing on its fabulous archives to
create masterpieces accessible to the Bond Street shopper.
The firm was founded in 1736 under the sign of the fleur-de-lis and star.
Because Hennell was at the forefront of jewellery design, it was called upon to
serve the royal families of Germany, Russia, Belgium and Spain, as well as
successive British monarchs (and their mistresses).
The arrival of a diminutive French jewellery designer, C.L. Bruno, in the
Twenties, heralded Hennell’s apotheosis. Bruno’s superbly balanced and
understated designs were widely coveted by the most glamorous women of that
elegant era.
While copies of Bruno’s designs may be commissioned today, Hennell more
usually selects a detail of the design and creates a new piece around it. In this
way, the shop is able to offer antique, Art Deco and modem jewellery of
unparalleled quality and tremendous versatility. Hennell will also remodel
jewellery to suit owners’ tastes and lifestyles.
The present management acquired the business from the Duke of Westminster
in 1988, reinstating Hennell as a silversmith and making the shop less
daunting. “A woman will always remember the occasion on which she bought
a piece of jewellery’’ says Christine Freedman, Hennell’s director. “That’s
why the shop has to be special’.’ And special it is. The assistants at Hennell are
friendly and approachable; customers are free to browse, but never feel
neglected.
Eighteen-carat gold,
blue enamel and
baguette diamond
crossover ring, below
VOGUE PROMOTION
gjgppojgif
Style is never out of fashion
BOSS
W ■ -V'
Ik m I
Bk A Li
m
54
VOGUE 1930-1939
Where there's a will there's a waist, 1939: what exercise couldn't take off, the new corsets
could - sometimes two inches from an already ring-sized waist
V ogue ’s social prescription after the Crash was: “If you haven't
lost money, pretend you have. Mayfair has gone native; no
champagne, and dinner cut to two courses.” The Depression
did not reach believable proportions in London until 1932, “the
year of the working debutante”: Lady Diana Cooper opened a
flower shop in Berkeley Square. But the Buy British campaign
established the London couturiers Norman Hartnell and Hardy Amies.
The poor were affected far more than the rich, though some country
houses lost a wing or two: life had changed. There was a Brave New
World full of new toys, new places, new people. “Sleek and Modern”
were the desiderata. Vogue described an ideal interior by Syrie
Maugham: dead white and luminous with modern lamps, stripped of all
useless walls and doors, a polished floor; against the cocktail bar of
mirrors and glass leant Aldous Huxley. To seem rich at the beginning of
the Thirties was “not quite”. Spontaneity was the thing: Oliver Messel’s
and Rex Whistler’s “Regency” designs were amusing, so was
Surrealism. Elsa Maxwell - toad-like but VERY “amusing and
spontaneous” - staged extravaganzas in Paris, Cannes and Venice with
other people’s money: Dali or Berard might provide decorations, Serge
Lifar might dance on the piano; everybody would be there, and the
photographs would be in Vogue. Society learnt to mix their own
cocktails, then they learnt to cook: “What a lark! The cook’s fired.”
Chanel was an exemplar: “A working woman who loves to entertain:
guests toss their own salads at her amusing ‘buffet lunches’.” As the
fashion was for women who looked as sleek as their dogs - Vogue
recommended borzois for grand occasions, dachshunds for everyday in
town - exercises and obscure diets were the rage. “Everybody” learnt to
fly; in a fit of artistic exaggeration Vogue declared, “Cars, even the most
streamlined, are demode. We FLY everywhere as a matter of course.”
Society flew to the sun in Cannes, to the simple life of hiking in Austria
and to Bayreuth for the opera. Vogue recorded weekends in Manchuria
and in Mexico as casually as it advised on the new rage for slumming,
such as “chop suey in Limehouse with Tallulah Bankhead”.
Everyone went to Hyde Park to witness soapbox orations by titled
Communists in white ties being cheered by their working-class
“comrades”, and Gandhi’s appearance there was retailed in the social
pages. Vogue wrote, “Our fun is never so ingenious as in those times
when expensive entertainment is under a cloud." Mayfair was sold on
American everything, from Cole Porter to “the American Ford ‘station
wagon', the new country house accessory”, as was the Prince of Wales.
Vogue began its coded references to this partiality in 1935: “.. .of course
it WOULD be Mrs Ernest Simpson who first thought of the wonderful
combination of seeded white grapes with little cubes of Dutch cheese -
she impales them on to sticks as she chats - quite charming.” By 1936,
Mrs Simpson’s figure, frocks and new jewels were noted, always
separated by a discreet two lines of copy from the Prince’s name.
Movies dominated the Thirties almost as much as politics. Vogue
covered the German cinema - the most radical and technically
interesting; photographed Cocteau making his first film in Paris, and
sent Cecil Beaton to Hollywood, which he reported was “inhabited
almost entirely by gods and goddesses of beauty... It is very much what
one was told Heaven was like when one was a child.” Horst, Hoyningen-
Huene and Steichen photographed for Vogue celebrity socialites who
rivalled the stars for glamour.
Drawing-room intellectuals became political; young men such as
Esmond Romilly and Cecil Day Lewis, fresh from the shooting parties
Nancy Mitford described in Vogue, went to fight in the International
Brigade against Franco. At home the Cliveden Set was rumoured to be
pro-Nazi, and many of the aristocracy openly admired Hitler.
The fight was fought in clubs and country houses - and in Vogue. Margot
Asquith wrote in 1935: “We do not believe in mock Mussolinis, silly
shirts, self-advertising upstarts. We detest dictators.” References in
Vogue to politics and split loyalties reached a peak in 1938, when Lesley
Blanch waded in against government film censorship and condemned
the popularity of an expurgated version of Mein Kampf : “Since we seem
to have taken Nazi Germany to our bosoms it is a pity that we cannot
read it in its unabridged strength. Unless you are Unity Mitford it is
unlikely you will have much chance for a heart-to-heart talk with the
Fiihrer... so it might be a good idea to go to a Left Book Club rally,
read the Penguin Specials - and go to the House to see how unimpressive
your pet statesmen turn out to be on the job.”
It was almost a mercy when the war broke out, acrimony was resolved,
and Vogue showed fashionable leather handbags designed to accom¬
modate a lady’s gas mask. ■
COVERS (PAGE 45) BY PIERRE ROY, ANTON BRUEHL, TONI FRISSELL
55
FASHIONS IN DOGS
AUAtlANS IOOX
BOWOIS FOR GRAND OCCASIONS
/Ifx-
ft Hi-1
■ j
Ml
^ Jj rSiii
■ ll Lh
hlM
'Hill Mb
Qvton \wti{ Skek f
livinq in the tunliqhl
having a glorious lime
tricorn, 1938; 10,
Schiaparelli's blue velvet
beret, 1937. 6, Persian
Prince dinner suit and
Scheherazade turban,
also by Schiaparelli, 1937.
11, "Mrs Simpson has
the... American passionate
care for detail." Here,
immaculate as always
in black crepe de Chine
scattered with matchsticks and a black Circassian cap. 12, flying high in the raciest
accessory, the aeroplane. 13, the first underwater fashion shoot: Vogue's
"mer-mannequins" at Marineland, Florida, 1939.14, Helena Rubinstein's anti-wrinkle "hot
masque", 1939.15, beachwear a la pecheur: fisherwoman apron and linen halter, 1937.16,
clinging bias-cut satins were merciless on the imperfect figure: women went to
extraordinary lengths to iron out unwanted bumps and bulges, 1933.17, contemplating the
new mode from a slimming wax bath, 1938.18, backless dresses showed off hard-won
tans: white pique dress with green and white taffeta halter, 1935
18
1 and 8, the passion for swimming
and sunbathing was stronger
than ever. Vogue advised readers
to take at least three bathing suits
to the beach each day, 1930 and
1933. 2 and 3, the dog as
accessory: borzois and
greyhounds were the perfect foil
for sleek evening dresses while
Alsatians, wolfhounds and Great
Danes were chic daytime dogs,
1932. 4, wide linen trousers
and sun hats were standard
beachwear in St Tropez and Cap
d'Antibes, 1931. Hats ranged
from witty miniatures to the
fantastical, 5, "the new perfection
for restaurant dining", tulle
evening turban and Tiffany
diamonds, 1939; 7, commedia
dell'arte: Schiaparelli's felt Pierrot
coat and bicorn hats; one with a
veil-mask, the other
held in place by a
single blond curl,
1938; 9, black felt
D'Artagnan
TO EVERY WOMAN OVER THIRTY
Evening dresses were infused
with Hollywood glamour: 1,
Lanvin's duchesse satin dress.
2, the mermaid silhouette:
Patou's version, fringed with
gold, "needs a twenty-inch
waist, streamline hips and
bee's knees to wear it", 1939.
3, Vionnet's statuesque
Grecian dress, 1939.
4, black crepe dresses by
Mainbocher, 1936. 5, cinema
satin: Maggy Rouff's black
dinner dress, 1937. 6, the first
appearance of Schiaparelli's
"Shocking Pink", 1938.
7, Surrealist fashion:
Schiaparelli's green ottoman
friar cape and straight purple
satin dress, 1936. 8, an
advertisement from 1937 for
a radio-active corset: "The
radio-activity in our corsets
has a stimulating and
reviving, even rejuvenating,
influence on the human
body." 9, Schiaparelli in her
own wine velvet evening suit
and gravity-defying felt hat,
1937.10, Carl Erickson
sketching Patou's fox peplum
suit. 11, classic Chanel: a
delicate lace bolero over a
plain black crepe dress and
signature swags of jangling
pearls and gold, 1938
ACTIVE
EORSETRY
Thirties Society was led by the royal,
the beautiful, and occasionally the
damned: 12, the Duke and Duchess of
Gloucester and the Duke and Duchess
of Kent with their children, drawn by
Rex Whistler for the Coronation issue,
1937.13, Queen Elizabeth with the
Princesses Elizabeth and Margaret
Rose at Glamis Castle, 1937.14,
Margaret Whigham, later the Duchess
of Argyll, "the very beautiful and
popular young person... is a type of
sophisticated younger English
generation of today". 15, the Duchess
of Windsor at the Chateau de Cande,
1937.16, the Duchess of Westminster,
1930.17, Lady Cynthia Mosley MP, first
wife of Sir Oswald Mosley — "she is not
only one of the most ornamental
members of the Labour Party, but is
also an accomplished speaker, and
made a most successful maiden speech
in the House of Commons." 18, Mrs
Curtis Moffat,
formerly Iris
Tree, daughter
of theatre
impresario Sir
Herbert
Tree, 1930
iUII;.
DAY TC DA
19, Princess Marina, Duchess of Kent, 1937. 20, Penelope Dudley Ward, a Society
beauty who found a brief success on the New York stage. 21, the Hon Mrs Bryan
Guinness and her son Jonathan in 1931; one of the Mitford sisters, she later married
Sir Oswald Mosley. 22, Edward James, married to Tilly Losch, staying with Syrie
Maugham's party at Le Touquet, 1932. 23, Noel Coward with Mrs Gladys
Calthrop, his set designer. 24, Mrs Constant Lambert, wife of the composer, 1936
THE NOEL COWARD PAPER DOLL
1, Diego Rivera's \
P ortra ' t °* f ^ e actress ft '~**K/ / *
Dolores Del Rio, 1939. ^2 k ^
|| 2, Lillian Gish, 1932. ,
Hollywood Draws
Itself: 3, Greta Garbo
by Jean Parker; 6, JF />
■ ill Joan Crawford £ ma
PSsVvilfl self-portrait and, \ f
10, Katharine ^ yl
nEI Hepburn by V \ \^/ A
i I Ginger Rogers. \
4, heart-throbs
HBHm Tyrone Power and, 5,
Henry Fonda both
appeared in "the wild \
and woolly Western,
Jesse James", 1938. 7, Joan
Crawford, "looking more glamorous \
than ever", 1939. 8, the Noel Coward
doll that came complete with cut-out )
wardrobe for the man-about-town. T1»
9, Laurence Olivier as Romeo in MM ,
1935.11, the "incomparable" /
Marlene Dietrich in 1935.12,
revue star Beatrice Lillie
demonstrating the art of K^ESBSSH
"exquisite simplicity" for Vogue, vogue s own paper doll, has
13, Lady Pearson, better known as the 8
stage actress Gladys Cooper, 1930.14, Claudette
Colbert, photographed on the set of Cecil B. de Mille's
Cleopatra, 1934.15, Rhythm in Chiffon: Ginger
Rogers in 1937.16, The Modern Mask: Katharine
Hepburn photographed in Surrealist style, 1935.17,
Norma Shearer, in "a golden statue of a gown, with
gilded feathers plastered above her fine profile",
1935.18, Mr and Mrs Gary Cooper "live quietly in
Brentwood indifferent to Hollywood's spangles", 1938
19, Charles Laughton in Alexander Korda's
film Rembrandt. 20, / Married an Angel,
by Richard Rodgers and Lorenz Hart: “an
elegant musical comedy, full of lovely songs and
twisting lyrics". 24, “The sound and fury which
signifies darkest Harlem, hottest swing and America's
latest craze." 21, Margot Fonteyn and Robert Helpmann,
1937. 22, Serge Lifar dancing in 1930. 23, Salvador Dali's costumes
for the ballet Bacchanale, a collaboration by Dali, Chanel
and Massine. 25, taking off with Fred Astaire. 26, “Fruity, dark
voices Harlemise Gilbert, while Bill Robinson taps intoxicatingly
to Sullivan's hotcha-ed rhythms in the riotous Hot Mikado,"
1939. 27, Red Norvo's band swinging, 1936: “Swing, as you
must have heard by now, is the musical fashion of the hour"
£•!£ 1, the artist Frida Kahlo, wife of Diego ||i
Rivera, 1937. 2, Jean de Brunhoff, creator IKfji
® of Babar, with the king of the elephants, Sit:
IP 1937. 3, "The world's most popular movie- JKjj
H star, Mickey Mouse... and... the world's nM l
most famous acting company - Minnie |f jjfm I
Mouse, Donald Duck, Pluto, The Goof, Hfk 1
Peter Pig, Clara Cluck, Horace W #JR| |
Horsecollar and Clarabelle Cow," with * ***
their creator Walt Disney in 1937. 4, Christian Berard, stage
designer and Vogue artist in 1936. 5, The Well-dressed Salad, 1935, by June Platt,
Vogue's food writer and illustrator. 6, Oliver Messel working on the sets of One
Glamorous Night. 7, Salvador Dali, 1937: "a Surrealist is a man who likes to dress like
a fencer, but does not fence; a Surrealist is also a man who likes to wear a diving-suit
but does not dive. Mr Dali recently delivered a speech in London, dressed in a diving¬
suit (he nearly smothered to death, because someone forgot to open the
air-valve) " 8, Dali's dream house at the World Fair - an eye with telephone-
tipped lashes and a seaweed piano with a chained woman as the keyboard. 9, Jean
12, the World Fair in New York, 1939, the
"Eighth Wonder of the World": here, the Star
Pylon, a 200ft wooden tower indirectly lit.
13, Mile Chanel's house La Pausa on the Riviera:
"the villa... shows that her rare taste extends
beyond dress designing to architecture... The
interior of the house is the essence of simplicity,
without superfluous furniture. But what is there
is the most perfect of its kind ..." At home at La
Pausa, 1938:14, Mile Chanel and Comtesse
Gioia Gaetani; 15, Mile Chanel, Mme Misia Sert
and Comtesse de Zogheb, and 16, dejeuner a la
mode. 17, brave new world: "A modern sports
cottage", The Hop Field, designed by Colin
Lucas and built of reinforced concrete on the
cantilever principle. 18, inside the perisphere
at the World Fair, looking down on Democracity,
the City of Tomorrow exhibit designed by Henry
Dreyfuss, "one of the foremost industrial
planners of America. His premise is that no one
will live in these decentralised cities: everyone
will have their homes outside, in the green belt
of the countryside, leaving the city mechanised, efficient,
uncluttered", 1939.19, the curved lines and curtain walls of Peter
Jones in Sloane Square. 20, "Modernism Goes Romantic":
Marc de Nicolas de Planner's apartment in Paris, 1932.
21, "Empire ornaments appear entirely in keeping with this
modern entrance hall... a sense of space is here obtained as
much by colouring and design as by spare furnishing", 1933
wiw.
-AUCUST IMS <»>
lirJari/ nntn/rr
Paris ami
Loudon
liasliions fur
M'
ml ()Mer
aoncrnliuiis
TVSTK TASTE
T1
wm
K-
66
205 SLOANE STREET LONDON SW1 071-235 9800
Enduring style.
For 50 years, Coach has
been creating handbags, briefcases
and accessories, all handcrafted/
of the finest natural leather, f ,
N- 9887 New Roll Bag, in 6ight
colours, £160.
To order, or for a free catalogue,
please cajl (071^35-1507.
/
The Coach Store: 8 Sloane Street,
London SW1*
The Coach Shop: Harrods,
London SW1.
New York • London •Tokyo
Creative Business
GENEVA GSTAAD LONDON HONG KONG
V # : f m
VOGUE 1940-1949
W hen war was finally declared, the nation, well prepared,
“buckled to” smartly. Debs presented at Court in ethereal
frocks in the last Season of ’39 found themselves
curtseying in uniform at royal inspections of their service
units. By the summer of 1940 London was a place of
gaping ruins and rescue squads, whole streets up and “choking dust
everywhere (one gets white in London now, rather than black)... and
everyone being too, too normal”. The intention to carry on normally
was strong: in its first wartime issue. Vogue announced: “Supplies may
be limited but we raise the ‘carry on signal’ as proudly as a banner.”
Reduced from a fortnightly to a monthly publication, wartime Vogue
was smaller and had a tiny staff: at the beginning of the decade Lesley
Blanch seems to have written most of the copy, Cecil Beaton “coming
all over butch” for the duration. Lee Miller photographed the Home
Front and went to occupied France, where her account of the
liberation of Paris was a combination of straight reportage and fashion
writing, and ultimately to Germany, where she photographed the
horrors of Buchenwald.
Vogue was initially as patriotic and larky as its readers, and equally
fascinated by the bizarreness of life dictated by war: from snatches of
overheard conversation - “Granny’s been impossible since she got
her stripe” - to the realisation that the Blitz had provided a new range
of house agents’ synonyms - “for desirability, it is now ‘deep-dug’
and ‘embowelled’.” To be “embowelled” at the Dorchester seems to
have been the ideal solution: “Business booms, especially in the base¬
ment, where everybody spends the alert being shampooed and set.”
Vogue's regular social pages, The Way We
Live Now, traditionally written in brittle i mini’
hyperbole, were, for once, no exaggera¬
tion: “All life is now lived in suitcases,
which stand by our
beds, Lilos, hammocks.
Everyone goes around
carrying suitcases for
the night (‘where I eats,
I sleeps’), plus their
dearest treasures.. .
People are having their
finest stones all collected
and re-set into one piece,
a portable fortune which
they take around every¬
where.” The etiquette of
dress vanished. So did
most conventions: guests
apologised for taking
sugar as if it were co¬
caine. .. “When Lord
Woolton orders us to lick
the jam-jar, table man¬
ners change accord¬
ingly,” Vogue tutted.
As food rationing
began to bite and
1, Jacques Fath's directional Paris suit of 1947 had a narrowed
waistline, flared back and small, upstanding collar. These exacting
proportions were balanced by a tall hat and high heels, 1947.2, “Dig
it out - for victory": original Vogue photographs by Cecil Beaton
donated to the War effort in 1942. 3, cat by Steinberg, 1949
people drank their cellars dry, enter¬
taining became a concept which didn’t
necessarily involve victuals - just a
bed was bliss.
In the country, every house
bulged: “Darling, could you
take Nanny and Baby and
my Dali and Jim’s
corgi... Oh! Nanny and
Baby can shake down
anywhere !” It was all
rather Fun in the begin¬
ning. In London, “search¬
lights stabbed the night
. . . the scene is - yes -
pretty , with the golden
sparkle of shell bursts.”
Posh children were sent
to America, the land
of banana splits and
baseball, and could
broadcast home on
“Friendship Bridge”
on Tuesdays at four.
Vogue's “people who
have never had to
cook, and cook
what they can
get - sometimes
over an open fire”
made it seem exotic. Vita Sackville-West made sensible suggestions:
“Tether a cow on the lawn, grow sorrel and alpine strawberries (the birds
don’t touch them), turn outdoor grapes into sultanas and pink vinegar.”
Other advice on how to handle slim rations gives a chilling insight into
what life was really like. Vogue's prescription for organising a wedding in
one week included the gallant wartime wedding cake which “assumes a
Surrealistic aspect since sugar rationing... icing facades replaced by
satin covers with lace frills - under which lurks the tiny cake.”
“// faut skimp, pour etre chic," trilled Vogue valiantly, when tight and
short was essential to conserve material. When stockings were banned.
Vogue showed how to achieve elegance in a silk dress worn with ankle
socks - turned up to appear “unsports-like” - and formal gloves in a
toning colour. Cosmetics were a distant memory, and hair got shorter
and greyer. Soap disappeared entirely: “far-sighted persons have
stocked up on patterned fabrics.” American movies kept people’s
dreams alive in luxurious Technicolor: a catalogue of luxuries they could
expect for Britain after the War. Vain hope. Peace was like war, but
without the shooting. No petrol. Less food. Rationing was stricter; “you
can only buy French perfume in the cloakroom of one famous
restaurant”, and all of life was grim and frayed.
Existentialism was the logical absurdity in a world “where ‘sociology’
and ‘spiv’ are the most popular words in the vocabulary”. The winter of
1946-7 was the worst since 1870 and people nearly froze. Travel was
banned, and one issue of Vogue had to be produced by candlelight. The
only bright spots were the wedding of Princess Elizabeth, and the New
Look, which was adopted with enthusiastic defiance by women who
had suffered the “skimp” for nearly ten years. Simone de Beauvoir
wrote ‘Femininity, the Trap’ for Vogue in 1947; Stephen Potter
countered by applying Gamesmanship to femininism. A nation tired
and sulky, which Vogue pointed out “has a social conscience, growing
steadily”, came to terms with the loss of Empire and privilege by
congratulating itself on its new enlightened Welfare State - and looking
forward to the Fifties. ■
COVERS (PAGE 65) BY COFFIN, PARKINSON, PENN, HORST, ANTHONY GILBERT 69
1, Jacqueline Cochran, ace American airwoman, flew a
bomber to Britain and told Vogue that “the women who
made the best mechanics in the maintenance and
repair units... were those who knew how to embroider
and do needlework," 1941.2, fashion was one of the first
industries to be hit by wartime economies - Molyneux's
fine black woollen pouched jacket and panel-pleated
skirt was designed to conform with the government
utility-clothing regulations, where "the position of
every seam, pleat and button is plotted as carefully as a
military operation", 1942. 3, facials were considered a
morale-boosting beauty treatment: "What good is a
new hat without good facial characteristics?", 1946. 4,
teaching austerity with elegance in Vogue's regular
'Smart Fashions for Limited Incomes' feature, 1940. 5,
fabrics of the future: nylon, until 1940, was found mainly
on toothbrushes, but Vogue reported new advances in
the US textile industry where scientists mixed nylon with
wool to make a hard-
wearing fleece, spun
into an indomitable
"test-tube coat...
with almost magic
properties which nei¬
ther rain nor snow can
ruin", 1942. On the
introduction of the Civ¬
ilian Clothing Order
of 1942, British cou¬
turier Edward Moly-
neux, 6, and six
leading designers
- including Hardy
mwm
Amies, Digby Morton
and Worth - were asked
by the Board of Trade to
design mass-produced
utility clothes "with the
clean elegance of a
style stripped of all
superfluities". 7, fash¬
ion survives despite
the bombing. Cecil
Beaton's famous image
of Digby Morton's suit
against the ruined
Temple, 1941. 8, back to
the land: Mrs Thomas
contribution was makim
to dig the garden, 1942
Hubbard
whose wartime
nets - dresses
/
THE DESIGNER
Vw :
16, on the brink of war, a last gasp of
Surrealism in Schiaparelli's shock¬
ing-pink and black arrow suit with
rambler rose bonnet, 1940. 17, cost¬
cutting tips were an essential part of
Vogue during the War, and features on
revamping clothes became common¬
place. Here, Hash with Taste showed
"Smart ways to cook up left-over evening
gowns," and how to dress up a cotton
print with bolero and pique top, 1940.
18, "A well-informed demand brings
about supply ... good meals are pro¬
duced for gourmets, and good clothes
for women who understand these
things": explaining the tailoring pro¬
cess in simple terms to promote
greater consumer understanding, 1942
9, braving the elements of an English countryside in landscape-coloured herringbone tweed, "with
white pique collar-bow for freshness and flared skirt for freedom", 1944. 10 and 12, "Our strength
depends on our thrift": as budgets became tighter, the emphasis focused on economy, utility and the
versatility of an interchangeable wardrobe. 11, wartime fashion photography promoted health,
vitality and practical dressing - socks instead of stockings,
cotton shirts with the sleeves rolled up, and no superfluous
glamour, 1942. 13, Digby Morton's intricately cut suit used the
smallest amount of fabric possible, but was brightened by gilt
loop buttons and multicoloured harlequin tweed, 1940. 14,
running carefree across an English beach in Lastex yarn
swimsuits with detachable skirts, 1940.15, movie-star glamour
gave an escape to war-weary readers: here, Constance
Bennett, "most cosmopolitan of stars, famous elegante, trailing
clouds of glory that was Paris", modelled a white crepe dinner
dress from Irene,
showing how the
celebrities were
dressing with col¬
lections from
California, 1942
BEAT THE
TAX AXE
Here’s help in balancing
Wookswcater, 1 Is.9d.;cardigan, 13s. lid.
Each needs 5 coupons. Gor*ray Koneray
skirt, 2 gns., 6 coupons. D. H. Evans
71
Opposite and 1 (inset), Christian Dior was heralded by Vogue in 1947 as
“The new name in Paris". He was to change the direction of post-War
fashion with the New Look, dramatically dropping hemlines, using
lavish amounts of fabric and inventing new ways of cutting and
constructing. Here, a soft bustle achieved with a bias-cut kerchief.
2, "In Paris the new clothes have movement in their long skirts below
closely fitted waists." Dior's dervish skirt, made from triangular panels,
1947. 3, on the great staircase at the opera: Dior's strapless tulle dress
and satin evening coat signified the new romantic mood at the Paris
collections. 4, hats, still an essential part of the grooming process,
"come into their own... and assert beyond the power of contradiction
that in town you cannot deem yourself dressed without one". Honey-
straw hat by Erik, 1947. 5, at the entrance to Christian Dior's salon in a
three-tiered cape. 6, news of a softer approach in Paris: Legroux's
jersey stole and velours cloche, 1948. 7, in Vogue's Renaissance "ruins
rise and beauty has its second spring", 1947. 8, "The gap between the
W ||
* ^ ^ y. v * •
Y Y asp waists
—achieved by seaming,
by corsets ^
world's fashion centres is closing fast" - Hardy
Amies and Molyneux belted skirt coats at the
spring 1949 collections. 9, in Dior's 1948
collection, focus moved to the neckline. Here,
his wing-back dress with collar curved into
extended points, 1948. 10, hats with "brims
disciplined to a point of severity" balanced the
new silhouette, 1948. 11 and 12, in Dior's
dramatic Envoi collection, he introduced
flared-back jackets and structured bustles,
1948
1 he shoulder
pjfi y«nfl
i
| tph 1
|Si
of that wide, international culture so seldom won on the playing fields of Eton or any other
public school today." 6, William Douglas-Home, playwright, 1948. 7, Richard Atten¬
borough, who made his name in Noel Coward's film In Which We Serve, played Pinkie in
the adaptation of Graham Greene's Brighton Rock. Vogue described him as an "expert at
acting social misfits". "They are workers every one. They drive and nurse and inspect and
organise... They wear their uniforms with an air, yet keep their civilian interests," June
1941: 8, Lady Alexandra Metcalfe; 9, Lady Kinross; 10, Lady Louis Mountbatten
1, the most brilliant of British stars, Laurence
Olivier and Vivien Leigh, married in 1940.
2, with petrol rationed a return to real horse¬
power was the answer: the Mountbattens
trotting out from Broadlands, 1943. 3, Mrs Vic
Oliver, Winston Churchill's daughter "as
Sarah Churchill, streaks towards stardom on
the stage." 4, playwright Terence Rattigan,
1943. 5, Peter Ustinov in 1940: "a most
remarkable young creature, a witty droll, a
mad mimic; yet a thoughtful person, eloquent
HORROW S NAMES
Art Moschino
UK Agent: MIRABEL EDGEDALE - 25.0 Kings Road - LONDON! SW3 5UE
Holidays ulirond:
*Iwtv In po, nluil In J«dij
WVililing |ilans 1
Holidays
leaded
’or holidays;
lew .cars,
lew clothes
Hh W***
Your
summer
holiday—
where to go,
what to pack
VHLE NUMBER
h Supplement for
Chrislopbcr Kr
('.abrirl Firhlin
YOUNG
I DEAS
' For cars %
and clothes 1
— a new
< DASH A
Christmas Presents.
Transition clothes
Beauty news
Model contest
Scottish interlude
Flving start to 1959
COMET
' \ ««1
1 A
He
ly
ll
i \
1
lor
Gold-plated Swiss quartz
watches, above, with
crocodile strap, £ 145, and
bracelet, £375. Gold-
plated pav6 evening bag,
right, £150. A Fior
advertisement in Vogue,
below, September 1950.
Fiords original shop, below
right, in Mayfair, 1950.
Silk-knotted, hand-
finished pearl
necklaces, above,
from top to bottom,
£175, £115, and, £275.
Hand-set "cabouchon
sapphire" necklet,
right, £775, and
earrings, £200. "Lost
setting" orchid
brooch, hand-set on
silver gilt, below, £400,
and eardips, £375.
Photographer: Jean-Pierre Masdet.
Still life: Sudhir Pithwa. Stylist: Zee
Shore at Terrie Tenaka. Hair and
make-up: Helen Frampton at
Mandy Coakley. Photographed
at Claridges. Hat, by Nicholas
Oakwell, at Selfridges. Organza
rayon jacket, by Myr§ne de
Premonville, at Whistles. Silk dress,
by Donna Karan, at Browns.
field: Fior. Be it high fashion or discreet modem classics, Fior is supreme.
In 1956 Fior was the first costume jeweller to receive a royal warrant. A
great accolade followed in 1985, when the Victoria and Albert museum held
an exhibition of Twentieth-century Costume Jewellery from the Fior Collec¬
tion to wide popular acclaim.
“Today’s great jewellery designs will become tomorrow’s classics’’ says
Lawrence Feldman, managing director of Fior Jewellery, explaining why
Fior designs are both timely and timeless. He personally supervises the design
of all Fior jewellery. These designs are created in parallel with current designs
by the world’s greatest real jewellers. It comes as little surprise that Fior
appeals to sophisticated women of all ages.
Fior’s origins date back to 1892, when Mr Feldman’s grandfather founded a
real-jewellery business. Mr Feldman’s father, Sonny, opened the first Fior
fashion accessory showroom in Mayfair in 1950. Fior’s archives include over
10,000 pieces of finest signed costume jewellery, dating back to the Twenties.
In 1990, this collection prompted a highly successful book, The Best of
Costume Jewellery which is devoted to Fior and its history.
1991 sees Fior concentrating on designs in pastel, gemstone colours:
aquamarine, peridot, pink and canary. Pearls, highly fashioned gold and Fior’s
unique rings remain popular. Fior has launched a collection of dazzling gold-
and silver- plated evening bags - also in silks and satins and offers sunglasses
and a striking range of Swiss watches for all occasions.
FIOR, 27 BROMPTON RD, KNIGHTSBRIDGE, SW3 (TEL: 071-589 0053).
22 NEW BOND ST, W1 (TEL: 071-491 4119)
80
VOGUE PROMOTION
VOGUE 1950-1959
angry, young and regional, and made honourable mention of the New
Brutalists who designed skyscrapers in raw concrete, symbolic of the
undecorated reality of contemporary life. Vogue used them for fashion
shoots. The Chelsea Set - descendants of the Bright Young Things -
liked to rub shoulders with angry young playwrights such as John
Osborne at the Royal Court Theatre. When Vogue commissioned Frank
Norman to write about prison slang, it com¬
mitted it to memory; it could also recite “John
Betjemans classic string of unmentionables,
beginning ‘Phone for the fish-knives, Nor¬
man/” Vogue noticed, and was delighted by,
Nancy Mitford's naughty U and Non-U : “What
a terrible hold this has taken when a strong man
can ask the garage attendant to clean his driving
looking-glass!” Brendan Behan, Dylan Thomas,
Laurie Lee, Marghanita Laski and Iris Murdoch
wrote for Vogue\ Kingsley Amis condemned The
New Puritans and Malcolm Muggeridge defined
The Art of Non-Conforming. Vogue featured all
that was being discussed “in the new coffee bars
over great draughts of espresso”: the Kitchen
Sink school - eclipsed by “Francis Bacons
dangerous talent” - Ionesco, Beckett, Simone de
Beauvoir (and the Kinsey Report) and black
humour and UFOs. The Chelsea Set rather
fancied Oliver Messels nephew Antony
Armstrong-Jones, the Vogue
rapher, who rode down the
King's Road on a motorbike
with the glamorous Jackie
Chan riding pillion.
Their dangerous aunts
- the Bright Young
Things emeriti, whose
fun had been so rudely
interrupted by war - flew
out on the new BOAC
Comet for reunions of the Inter¬
national Set: the usual out-of-
work royalty, the new Greek ship¬
ping millionaires such as Onassis
and Niarchos, and Latin “playboys”. Vogue
tracked them as they migrated between Palm Beach,
New York, Paris, St Moritz and Rome, photographing
their houses and the Beistegui Ball, the acme of their post¬
war existence.
Making a virtue of staying at home, “now we are reduced to doll's
houses”, people pondered “the new problem of how to relax” (they
blamed it on Suez); regretted that debs would no longer be presented at
Court; tried to understand the Third Programme lectures by Isaiah
Berlin; cheered themselves up with those wonderful Broadway
musicals South Pacific and Guys and Dolls and boasted of the sound
quality of their new stereos in “newer-than be-bop language: hi-fi,
wow, woofers”. They talked of subliminal advertising, motivational
research, and snubbingly of the new television personalities: “they
don’t know anything, they just have to be." This was washed down
with Chianti at dinner parties featuring painstakingly cooked recipes
from Elizabeth David in Vogue , with all the sophisticated groceries-
garlic, black truffles, preserved goose, souvenirs of motoring
holidays on the Continent. ■
The Belling “Streamline” is
iuperb both in appearance and per-
ormance. It has a full-size inner glass door which
,akes all the guesswork out of cooking. Moreover, the oven is auto-
natically floodlit when the outer door is open so that you really can si
vhat’s cooking! Automatic oven control. Extra large oven—clear cook-
ng space 15'w.xl3'd.xl6'h. Automatic simmering controls on grill boiler
ind 2 boiling plates. Fold-down hob cover forms useful table top. Avail-
ible on wheels for easy cleaning
\TTRACTIVE H.P. TERMS AVAILABLE
Immediate Delivery
rom your Electrical Shop or Showroom
FREE! Write to Belling & Co.
Ltd. Bridge Works, Enfield, Middx.,
for 64-page colour catalogue of
Belling electric fires and cookers —
it’s full of useful information about
electricity in the home.
)/- extra. Only £52.10.0
you
can’t beat
a
••
T he cover of Vogue' s Coronation issue was unusually - but
suitably for the time - egalitarian: a pub window, the Victorian
glass etched with the royal crown. Before the War, Vogue and its
readers regarded pubs as a curiosity. The post-War social
climate was quite different. Although the country briefly
revelled in the ballyhoo of ritual splendour and “Coronation fever”
affected every advertiser, to the chattering classes of the Fifties the non¬
relevance of royalty was an article of faith. Britain was broke; we had lost
the Empire and our pretensions. Vogue sadly quoted from The Times's
small ads: “Countess’s Coronation robes and coronet for sale”. Hundreds
of country houses (“under sentence of death”) were ceded to the National
Trust. Reporting the alternative — “Chatsworth had 8,000 visitors over
Easter” - Vogue signalled Britain’s
future as a theme park.
Rationing continued unabated; the
nation was grimy and frayed. New
punitive taxes were invented; there
were travel and currency restrictions.
By 1951, the country had done as it
was told for ten years; mustered to
optimism by the Labour govern¬
ment’s “tonic to the nation” - the
Festival of Britain - it responded. So
did Vogue : “Suddenly on the South
Bank we discover that, no longer
wealthy, we can be imaginative,
ingenious and colourful. If all goes
well, what a country we shall live in,
what a Britain we shall have!” Sci¬
ence and technology promised the
glamorous future. Though Vogue photographed mannequins in front of
the first computers, and used a huge model of the molecular structure of
DNA as a fashion prop, it also reflected certain forebodings that you
couldn’t return the genie to the bottle: “The current imponderable is the
H-bomb and its genetic effects.” The nation embraced “the social
sciences”; Vogue ran a series of artistic black and white photographs of
Ordinary People Working - the effect was worthy if anthropological.
Returned by the pledge “Set the People Free”, Churchill’s Conservative
government finally swept away ration cards in 1953. In the same issue in
which it welcomed “the return of butter, the free egg and the liberated
sausage.. Vogue heralded the arrival of 3-D movies and Cinerama.
The age of conspicuous consumption; of national bad taste, as manu¬
facturers unsuccessfully aped the US; of hire purchase and television
and cars for all; of “the new, mysterious, expense-account rich” was
under way, welcomed by people who had “never had it so good”.
Those who had once had it a lot better perforce embraced reality. Real
life was very Fifties. Cultural top marks for people being very rude to
4 each other in regional accents
m FLOODLIT VISIBLE COOKING - on stage, screen and TV.
.jjV* Vogue chronicled all that was
1, Tommy Cooper and Young Ideas party dresses, 1958. 2, corsets fitted
the body to the line, nipping waists, caving in midriffs and turning even
the flat-chested into torpedo-breasted sweater girls, 1955. 3, Fifties
cloche in soft felt. 4, the coming-of-age of the consumer durable -
no kitchen was complete without the latest electrical gadget.
5, Sir Bernard and Lady Docker: “she is a fable of our age, a fable
... crowded with zebra-skin and Midas-touched cars", 1955
COVERS (PAGE 79) BY BLUMENFELD, COFFIN, NORMAN PARKINSON, VERNIER, ARMSTRONG-JONES,
RAWLINGS, RUTLEDGE, HENRY CLARKE, BOUCHE, PENN, HONEYMAN, ANTHONY DENNEY, STEMP
6, the tunic or H-line -
longline jackets over the
narrowest pencil or pipe
skirts - in marigold, the
colour of autumn '55. 7,
Barbara Goalen
Yes, it is rather exciting news
10, Antony
Armstrong-Jones's
“send up"
photographs were a
refreshing change
from stylised shoots,
1957.11, Penn's
portrait of America's
top models. 12, party
hats were
wonderfully
glamorous: Dior's
mop hat of
straightened black
ostrich feathers, 1957
Mv t
yB
TOP
| MODELS
ns^jj
.. M
13, with Paris dictating
new lines each season,
the only way to stay
fashionable for more than
a year was to wear Chanel.
Here, her unmistakable
cardigan suit: black and white
check tweed over a black jersey
blouse, 1958.14, Paris trends hit
the high street: velvet cape sleeves
on a slim velvet dress, by Julian Rose
at Harrods, 1951.
15, billowing, tent-shaped evening
coat in brilliant-green paper taffeta by
Spanish couturier, Pertegaz, 1954.16
drifting in a gondola..
3 k
EVES ISC.
IF. El
1950-1959
ound-the-clock heels
8, Hardy Amies's crinoline in mushroom
satin and tulle; "his clothes are as
debonair as his looks, and as confident
as his character", 1953. 9, Rochas's
trumpet skirt: a fringed velvet sheath
fitting tightly over the thighs bursts into
a fishtail of pleated taffeta, 1950
IIcol height depends now more on personal taste
than on time of day or degree of dressedness.
Though pin-fine heels keep to their late-dav place,
lower heels are capable of new formality
sightseeing suit in powder-blue
knitted silk, and a gondolier's hat,
photographed by Henry Clarke, 1956.
17, black satin evening shoe with
a frighteningly slender three-inch
heel, 1954.19, Balenciaga's sculptural
designs were the most dramatic
of the decade. Here, the aerated lines
of his taffeta pumpkin skirt, 1950.
Hats were still an essential part of
the look, ranging from back-tilted
toques and flowerpot hats to huge
cartwheels and straw sou'westers: 18,
stiff-brimmed, white-stitched velvet
hat with brown bows; 20, "Trifling
hats... the small, whole difference" -
Sadler's Wells soloist, Anya Linden, in
a turquoise velvet Velasquez hat
by Vernier; 22, Dior's flat tweed
turban, "swathed and draped as
deftly as a sailor-tied knot". 21, "We
believe in an independent fashion for
the young, avoiding the daisies in the
hair of the 'You're-only-young-once'
school on the one hand, and barely
converted school uniforms on the
other." The launch of Young Ideas in
1953 catered for a growing teenage
market. 23, Hartnell celebrated the
Coronation with a collection of gold
and white evening dresses, 1953
83
1950-1959
The popularity of casual “at home" clothes made jeans a staple part of young wardrobes. 1, “lovely lazing"
in summer jeans, photographed by Penn, 1952. 2, cut-off towelling jeans and grey cotton jacket, 1953. 3, travelling
denim, overchecked in white with a striped wool jumper, photographed on the terrace of the Modern Art Gallery
in Dubrovnik, 1955. 4, electric shavers were a novelty, claiming to leave legs and underarms “petal-soft", 1956
foundation belt ? We know
exercise
their influence
If a man you know admires the little waist of a girl
| you know... and if yours isn’t, that should influence
\ you to start exercising. A man’s opinion can put a
whole chain of exercises in motion which can give you
| not only a whole set of new dimensions, but also make
■ you feel wonderfully alive and well. To start. . .
PAN TIE-BELTS
6
FOR A GAY YOUNG LIFE
W hat’s your idea of
the perfect young
that all belts must control and
fit perfectly; but a young belt
cosset the figure; that they
must be lissom and light and
5, fitting the
foundation to the
fashion: teenage
pantie-belts in bright
awning stripes. '
6, Lefaucheur's
corselette designed
for Dior's
mannequins, 1953.
7, exercising for male
approval, 1950. 8, the
1954 Gentle Look
MEN
should have something be¬
sides—a gaiety, a brilliance.
7
Man, Fve flipped ! *
9, in 1955, Vogue still loved the sun, advising
readers to “make sure you wear the same
costume throughout your sunbathing so that
you don't get left with strap marks"
10, sleeved swimsuit
in black jersey with gilt
hooks and eyes, 1953.
11, “zany, sparkling,
absolutely hep cats":
Antony Armstrong-
Jones's party picture
of Dior's silk sheath
with a full lace skirt,
1959.12, the
archetypal
Fifties /
teenager, /
She’s eighteen, and she chooses yellow
trousers because somehow one always
seems to end up sitting
on the floor in her room, what with
the gas ring and the gramophone
being there already.
There will be spaghetti and "coke.”
Her trousers are of Street Velvet
tapered to a
zipp at the ankles,
to a cummerbund at the waist. With them
a black jersey blouse buttoned with jet.
Trousers by Credo, £9 15s.; blouse £5 13s.
Black pumps £1 9s. 6d. All at Simpson
photographed by Anthony
y M Denney, 1952.13,1953
mF ^ evening make-up for the
busy beauty. Time: 19 minutes, j
^^^^k 20 seconds. 14,1953 M
morning make-up. Time:
I minute, 56 seconds. 15, Mrs B
Roy Boulting and her
sons striding out in their new spring outfits, 1955.16, Jk I
"For extra health and beauty, canasta enthus-
iasts are playing out of doors this summer"; v
big, blue-green sunglasses and the essential
cigarette holder, 1950.17, actress Millicent
Martin, "cross-eyed and feather-brained",
in a souffle-shaped black feather wig hat, 1959.
18, Manguin's afternoon dress with "minimised bodice,
shoulder-bands, and front-thrown fullness, 1955.19, the veiled
face - "one of the biggest beautifiers we know"; eyes and
lips were heavily outlined to show through, 1956
1, Richard Burton and Claire Bloom rehearsing Hamlet at the Old Vic
under the watchful eye of Michael Benthall, 1953. 2, Brigitte Bardot, the
"latest, youngest and prettiest French girl in British films", 1955. 3, Mike
Todd, 1957. 4, Kay Kendall, 1952. 5, Jean Seberg, 1957. 6, Marlon
Brando, "Hollywood's pet earthquake, unpredictable, actively
unconventional", 1953. 7, Grace
Kelly, 1956. 8, Lauren Bacall, "tiger-
B lady of the uncaged eyes and low
m throaty growl." 9, Tennessee
Williams, 1952.10, "piquant
beauty" Joan Collins, 1951.
11, James Dean, "the brooding boy
who has lived on as the off-beat
yf* generation's hero, long after
his allegorical death". 12, The
Goons, 13, Kingsley Amis,
S'f'-t* “one of the new group of proudly
I provincial novelists", 1955.
14, "Giotto-faced underwater
Jacques Cousteau, 1957
lorer
15, Shelagh
Delaney, author of
A Taste of Honey,
1959.16, Ivy
Compton-Burnett,
1951.17, tribute
to Dylan Thomas,
1954.18, Evelyn
Waugh, "man
of letters, man
of wrath", 1952
VOGUE’S SPOTLIGHT
1950-1959
After the hard times of the Forties, a new order and way of life were heralded by the Festival of
Britain in 1951 and the new Queen in 1952.1, the Rt Hon Sir Winston Churchill KG OM CH MP, and
3, Lady Churchill GBE in their Coronation robes. 2, sculpture by Barbara Hepworth. 4, Vogue
features editor, Clarissa Churchill, later wife of Anthony Eden, 1950. 5, maids of honour to The
Queen at the Coronation in 1953, from left: Lady Anne Coke, Lady Jane Heathcote-Drummond-
Willoughby, Lady Rosemary Spencer-Churchill, Lady Moyra Hamilton and Lady Jane Vane-
Tempest-Stewart. 6, Princess Margaret, photographed on her twenty-first birthday at Balmoral,
1951. 7, Princess Elizabeth with Princess Anne, and 8, with Prince Charles in 1950. 9, the Coronation
at Westminster Abbey, 1953: "The moment of Homage. In the foreground The Queen enthroned, in
the background the crowded Peers' Gallery in the South Transept." 10, fabric designed by Graham
Sutherland. 11, "the trend is for everything that was once a fixture to become moveable. New
instance - this Ekco TV." The Festival of Britain - "an illustration of the State's potential as patron
of the Arts", 1951:12, Henry Moore;
13, Edward Bawden, with his design for
the great mural; 14, the Gothic Tower,
one of two designed by John Piper and
Osbert Lancaster. 15, "granite-faced
Bowater House - its seventeen-floor
High Tower makes it London's tallest
office building", 1959. "Modern" style
at home and abroad: 16 and 19, Mr
and Mrs Raymond Loewy's New York
apartment: "Japanese-inspired...
most revolutionary is the handling of
space - colour, texture and light all
combine to give it a unique, 'floating'
quality", 1955; 17, a "Contemporary"
bedroom, 1958.18, "Osbert Lancaster
imagines the approved House &
Carden Christmas ”, 1958. 20, Lucien
Freud's portrait of his wife Caroline,
Girl in bed
''NOTES IN THE
ABBEY
t ■? H
w,
r * * t
Food at its best
BY ELIZABETH DAVID
When Curnonsky, the famous French gastronome and writer who died last summer at
the age of eighty-three, described the four distinct types of French cookery— la haute
cuisine, la cuisine bourgeoise, la cuisine regionale, and la cuisine improvisee —he might
perhaps also have mentioned that other well-known branch of French cooking, la cuisine
a la franfaise —or French food, as understood and cooked by foreigners all over the
world. As a Frenchman, perhaps he did not think this cooking worth consideration, but
certainly he would not have sought to deny the fascination and the influence which French
cookery exercises upon civilized people in all parts of the world.
With la haute cuisine I am not here concerned. Although at its best it is professional
cooking by chefs of the very highest achievement, many sins have been committed in
its name; and for financial and economic reasons it is becoming rare, even in France.
The feeling of our time is for simpler food, simply presented; not that this is necessarily
easier to achieve than haute cuisine ; it demands less time and expense, but if anything
a more genuine feeling for cookery and a truer taste. It is the kind of cooking which,
once more, was meant by Curnonsky when he repeated, over and over again, that good
cooking was achieved when "the ingredients taste of what they are”.
■■kk. N ; ™ ■J'TWtt't ' "OKing was acmcved when tne ingredients taste ot what thev are .
THE FESTIVAL OF BRITAIN 1
THIRTY YEARS
OF MAGIC.
CREATION
ANTHOLOGICAL EXHIBITION FROM 1960 TO 1990. ACCADEMIA VALENTINO - ROME - FRIDAY 7th JUNE - SUNDAY 3rd NOVEMBER 1991.
IMAGES.
PHOTOGRAPHS AND ILLUSTRATIONS. MUSEI CAPITOLINI - ROME - THURSDAY 6th JUNE - SUNDAY 28th JULY 1991.
VALENTINO.
A FILM BY FREDERIC MITTERAND. WORLD PREMIERE. MUSEI CAPITOLINI - ROME - THURSDAY 6th JUNE 1991.
oration
ortfolio
Christmas
issue
)N0T0NKS:
•iwntiur*. iImwihI,
hluiiv In livlrur
EJIASTmus
E«a«t M»t ttivwkjr
KsPEtLBOfDEK
VLIUI^
lUSlIUAN
HU IN
fm sew rut!Hi»K uma
*u:ivsiik>\
I\N \K »M'^
.GOLDEN JUBILEE
Louis Feraud
PARIS
1961
AN ORIGINAL DESIGN BY LOUIS FERAUD FOR BRIGITTE BARDOT
Up
Louis Feraud
PARIS
1991
LOUIS FERAUD (LONDON) LTD., 20 BERKELEY SQUARE, MAYFAIR, LONDON W.l. 071-499 6956.
PHOTO FRANQOIS HALARD
London BROWNS South Motion Street Wl, HARRODS Knightsbridge SWl, HARVEY NICHOLS Knightsbridge SWl.
Photo Peter Lindbergh
VOGUE 1960-1969
B ritain envied the US in the
Fifties; by the mid-Sixties, the
US returned the compliment to
such an extent that the two
cultures seemed temporarily to
merge (helped immeasurably by cheap
transatlantic air travel, rock music and
films). For a time the London Youth-
quake was the big noise in Marshall
McLuhan’s Global Village. Vogue wrote: “Britain is the society
that had done it all, and relinquished it all - only to lead the world
again.” The Beatles’ wit, the attractive perversity of the Rolling
Stones, Vidal Sassoon’s haircuts, Mary Quant’s minis and
outrageous make-up were nonpareil; British theatre, British
actors and models set the standard. The world’s tycoons came to
Savile Row for their suits and to Blades, the psychedelic haber¬
dasher, for laid-back dinner-jacket substitutes. The Rolls-Royce,
the Range Rover, the English secretary were the supreme status
symbols; an E-type Jag or a Morgan and
Jacqueline Bisset were the things to have
in Malibu. Britain exported all of these and
David Hockney, too. The Queen still
looked like her stamps; we boasted about
the Brain Drain. Unfortunately we de¬
cided to celebrate by changing the skyline
of London with pseudo-American tower
blocks in inferior materials. Nikolaus
Pevsner wrote archly for Vogue , observing
that the new buildings were “perhaps not
so very original - but then why should
office buildings for anonymous staffs be all
that original?” For the entire youthful pop¬
ulation of the Common Market - to which
Britain, being very pleased with itself, felt
rather superior - Carnaby Street, every
shop infested with Union Jacks, was the
tourist attraction. A grateful government
awarded the OBE to each Beatle.
Throughout the Sixties the aim was to shock - “England is complacent
and the young... desire to hear breaking glass.” Pete and Dud’s satire
went far Beyond the Fringe of the British Isles; Vogue whispered a
propos of the Profumo scandal: “they serve... a soup called Cliveden at
a club called the Establishment”; it congratulated the infant Private Eye
(which was read anxiously by politicians and the City) for “opening out
the hundreds of little lies in our society”. (John Le Carre’s cynical
“thinking man’s spies” were obviously drawn from life.) Public
exposure of hypocrisy and worse in high places opened the way for
Harold Wilson’s Labour government and gave additional impetus to
“meritocracy” and the cult of classlessness. Terence Stamp took a set of
rooms in Albany. Tremendous kudos was attached to opening a
boutique. The new aristocracy - models and photographers, their status
celebrated by Antonioni in Blow Up , and pop
singers - was confident to the point of arrogance.
John Lennon addressed the audience at the
Royal Variety Show: “The people in the cheap
seats can clap, the rest of you rattle your
jewellery.” Elizabeth Taylor and Richard Burton
were more famous than The Queen (and the
Beatles were more famous than God).
To be photographed by David Bailey in Vogue
conferred “grooviness” on anything. The new
Mini - “British to the back wheels, it belongs to
the age of colour television and men on the
moon” — was piled up by the dozen around
“The Shrimp”. Used almost as a prop, Jean
Shrimpton lent credibility to anyone such as
George Weidenfeld oi the director of Sotheby’s,
or Cecil Beaton who had the misfortune to be
over thirty. The Sixties male ideal was the edgy, supercharged diabolic
boy, a package of complex corruption, like David Hemmings, or
hypnotic force, like Mick Jagger, with his “bizarre, strange anti-charm”.
The ideal Chelsea bird signalled her wide-eyed, false incomprehension
with absurdly long false eyelashes and took the Pill. Vogue approved of
the new Mrs George Harrison, Patti Boyd,
picturing her At Home in ethnic abundance.
“Debs have acquired cockney overtones,”
Vogue reassured mothers, who also worried
about the fad diets and meal substitutes to
which their daughters resorted, trying to look
- as well as sound - like Twiggy, “whose
natural advantages include a cockney accent,
a limited vocabulary and a very sweet nature.
She is seventeen-and-a-half.” Before long,
grown women were wearing “fab gear”,
attempting knock-kneed childish postures,
their toes turned in, in little flat shoes. The
Queen’s own skirts, while not micro, were an
unprecedented exposure of the royal knees.
“The romantic, freewheeling, alternative life¬
style which Rock has unleashed... the power¬
ful amplifier becomes the folk instrument of the
nuclear blues. Rock has made a community of
its audience,” pronounced Vogue. Upper-class
hippies (the Ormsby-Gores and their organ¬
ically named children were the cynosure)
gathered around the tarot cards at communes in
Wales and in the drawing-rooms of Haute
Bohemia off the King’s Road. Christopher
(“Show me the salon that doesn’t boast a
hookah”) Gibbs contributed Vogue's equivalent
of the International Times , in a style suggesting
more than a whiff of “the fragrant winds wafting
from Haight/Ashbury”. When Vogue asked
Jonathan Miller to write
about LSD, he pontifi¬
cated, “there are no
chemical routes to Para¬
dise. .. pot gets me no
further than vertigo.”
The Third World was
very stylish for mind¬
expanding travel as long
as it was uncomfortable
enough to qualify as
work. Barbados, Sar¬
dinia - the Aga Khan
invented the Costa
Smeralda for the new
jet set - Ibiza or
Morocco were where to
bump into Anita Pallen-
berg or Marisa Ber-
ensen. Indian jewellery
and a kaftan could take
you anywhere, including Society weddings at St Margaret’s,
Westminster; Annabel’s kept up standards by requiring ties.
Publishing its first horoscope in 1964, Vogue ran features about
witchcraft cults and ESP, ancient Egyptian religions and psychic
research, with photographs of aura goggles. Harold Acton wrote
on reincarnation. Stevie Smith and John Wain wrote on poetry,
Alberto Moravia interviewed Fellini, Laurie Lee wrote about sex,
John Gross about television, Germaine Greer about feminism.
Roy Strong wrote The Face of Christ. Quentin Crewe summed up
the restaurants of the day: “Someone mutters l spaghetti-alle-
ongole-Apicella- Sambuca-Mario-quarry-tiles’ like a witches’
spell, and, lo, there is a new trat.” ■
1, David Bailey.
2, Jean Shrimpton
in a narrow black
dress, 1962.
3, "She is an X-ray,
not a picture,"
Twiggy, 1967.
4, Cardin's
star chromium
collar, 1968.
5, film director
Frederico Fellini
with Vogue model
in Simonetta's
evening coat
DAVID BAILEY, WILLIAM BELL, HENRY CLARKE, DUFFY, PETER KNAPP, NORMAN PARKINSON, MAURICE PASCAL, PETER RAND, RONALD TRAEGER, CLAUDE VIRGIN
97
I \\ F^ORlNI/V 3, Op art wool pullover dresses by Saint
^ Laurent, 1966. 4, Cardin's sculptural wool coat
Rudl Gernreich’s and igloo-shaped helmet trimmed with white fox,
Brave New W orld 1966.5, Chloe's backless bikini of yellow plastic
discs, 1966. 6, Paco Rabanne's plastic chainmail
dress, 1966. 7, the Left Bank or "beat" look, Saint Laurent's last
collection for Dior: "pale zombie faces; leather suits and
coats... black endlessly", 1960. 8, Saint Laurent's sheer organza
shifts striped with silver sequins, 1966. 9, Courreges's
moon-girl: silver sequin hipsters, white faille coat and
boots, 1964.10, British couture, 1962. From the beginning
of the Sixties Britain emerged as a fashion leader
London couture is too often thought of
as a quiet backwater of well-cut tweeds
and splendid balldresses. Here, twelve
pages from the London collections which
show that first-class designers get the
same ideas on both sides of the Channel
Space age fashion...
1, Courreges's
fashion adventurer
in felt hood and cire
towel, 1964. 2, camel
Nightrider coat and
dress, and yashmak
helmet by Rudi
Gernreich
11, “cool, infallible white, a natural for the luxury look
mi l m i>■ 111.11111 1 ■■■■ jHj z abroad": ocean-going, three-tiered evening dress in
*■' white satin by Susan Small, 1960.12, Sixties
aerodynamics: flying suit in "free-falling blazer stripes'
with a scarlet spiralled patent belt, marbled boots and
goggles, 1969.13, black seven-eighths coat over a slim black and white
spotted dress, photographed by Parkinson at Chisnall Hall Colliery, near
Wigan, 1960.14, the new bikini: a tiny pink cire bra
over pink shorts, 1969.15, Emmanuelle Khanh's
feminine shapes and curvy, little suits were copied ~ f
everywhere. Here, white rayon pique suit
Bk edged with red, and white pique petal
bonnet, 1964
Saint Laurent's black and white
geometric shifts spawned a generation
of monochrome fashion: 16, bold print
halter, photographed by Helmut
Newton, 1965.17, .. all I can bear to
wear in the evening is my crepe
jumpsuit": Foale & Tuffin's all-in-one
halter, summer-flower colours on white,
1965.18, couture kaftan: Madame Gres's
brocade poncho and jersey pants, 1964
1, soft, square-toed kid shoes with triple tongues,
silver buckles and new slanting heels, 1968. 2, in 1967
the mini shrank so much it became shorts. Here,
Twiggy in tailored shantung silk shorts with a
monogrammed, open-neck shirt. 3, shades of the
future: gilt-edged pyramid glasses, spotted lens
100
glasses, rectangular glasses with
mirror checked lens and white¬
framed windshield glasses, 1967.
4, looking at her world through rose-
coloured spectacles: Jean Shrimpton
in John Bates's crepe slip with
swinging silk tassels, 1968. 5, Mary
Quant designed her new make-up
around the needs of twenty-two top
models, 1966. 6, the crochet "skimp
top" with a scooped and scalloped
neckline, daisy jewellery and outsize
sunglasses, 1965. Romantic, ethnic
clothes were a reaction to the plastic
futurism of the mid-Sixties. 7, "on
gusts of balalaika music from the
Balkans, from hurdy-gurdy gypsy
camps in Varna and the Ukraine": the
jetset peasant in a Yugoslavian lace
and linen dress embroidered in red
silk with flowered hem, 1968. 8, Nina
Ricci's Latin American flamenco
ruffles under a straw hat and scarf,
1968
9, Richard Burton and Elizabeth Taylor at Saint-Jean-Cap- RflHKBfe' ,
Ferrat: "I am just a broad, but Richard is a great actor," 1967.
10, Princess Anne, 1969.11' Mrs David Bruce, wife of the US
ambassador, 1961.12, Edna O'Brien, 1968.13, Grace
Coddington marries Michael Chow, 1969.14, Lord Harlech with ?/*
three of his children: Alice, Francis and Victoria, 1969. jf
15, Geraldine and Sarah Harmsworth, daughters of the Hon Blk fm
Vere and Mrs "Bubbles" Harmsworth, 1969.16, Princess Lee Wk
Radziwill, Jacqueline Kennedy's sister, 1960.17, Dennis and John BR*^ 21
Myers with Maudie James and friend in Christopher Gibbs's
flat, 1968.18, Marguerite Littman, Vogue contributor, 1968.19, Lord Snowdon with Carl Toms,
Robert Hancock and John Pound, preparing for the Investiture of the Prince of Wales, 1969.
20, Charlotte Rampling "looking like a Lichtenstein", 1968. 21, Brian Jones with the Hon Tara Browne,
1966. 22, Joan Sutherland, 1962. 23, Noel Coward, Lady Diana Cooper and Cecil Beaton, 1969
1, Penelope Tree as Ungaro's space angel f her face
behind a silver mask, 1968. 2, New York socialite Baby
Jane Holzer had "the biggest head of hair this side of
the jungle", 1964. 3, Marsha Hunt's Afro in the musical
Hair triggered a wave of lookalikes, 1969. 4, Jeanne
Moreau, melancholic and beautiful French actress,
1962. 5, Lady Jane Eliot transformed into "a modern
Cleopatra", 1966. 6, Veruschka, German countess and
supermodel with her face painted by Antonio, 1966.
7, Sandie Shaw: "inscrutable, white faced, sad, likes
singing barefoot, getting away from 'smoke, machines,
people'", 1965.8, Mia Farrow had one of the shortest
hair cuts of the Sixties, 1966.9, Twiggy, the "face of the
Sixties", was more visible in Seventies Vogue
10, classic Sixties girl Julie
Christie “likes to look
as natural as possible
with a slight suntan
all year", 1967 in
11, Jane Asher: “her hair is the stunning feature - very
straight, very long, very red. She wears it just as it grows,” 1964.
12, Barbara Hulanicki, the cool blonde behind Biba, 1964.
13, Marianne Faithfull: “I have this great big purity image.
I don't mind, I'm only seventeen and I did go to a convent," 1965.
14, Catherine Deneuve: “a cool independence and will have
singled her out from a bourgeois background to the amoral
medium of the modern cinema," 1969.15, Barbra Streisand
“is an actress as well as a look, a voice, and almost a legend",
1966.16, actress Jane Birkin, wide-eyed in suede petals, 1969
1, John Lennon "the rhythm guitar Beatle... the oldest and
the brightest" 1964. 2, "violence a la mode": Arthur Penn
directed and Warren Beatty produced and starred in the
"unprecedented success" Bonnie and Clyde: "People have
^ fainted in their hundreds and broken all attendance
records," 1967. 3, art dealer John Kasmin was renowned for
"His tenacity, his discrimination and his ability to pick a winner out of a
crop of unknowns... he was one of the first to recognise Hockney's
potential," 1964.4, Marshall McLuhan, media philosopher, 1966.
5, Andrew Oldham, manager of Marianne Faithfull and joint manager
of the Rolling Stones: "Pop music is taking the place of religion and
parents had better start realising it," 1965. 6, Mick Jagger as fashion
prop by Bailey, 1965. 7, Terence Stamp: "He hangs an audience out on a
sentence, pegs them with a gesture, blows them about in his breathless
switches of mood and accent," 1966. 8, Californian dream: Jim
Morrison of the Doors. 9, Peter Blake, "whose concern with popular
culture is no affectation", 1965.10, "Gallic beau-laid : Jean-Paul
Belmondo," 1961.11, James Bond's alter ego, Ian Fleming, in 1963.
12, Edward Lucie-Smith chose
British
The Impact-Makers in
painting: from left, David Hockney;
Ian Stephenson; John Howlin and
Howard Hodgkin, 1963.13, "zany
individuals" Jonathan Miller, Peter
Cook, Dudley Moore and Alan
Bennett on their way to the
Edinburgh Festival with
Beyond the Fringe, 1960
m ^
1
K 1
’■VVjT- J
r 'i
14, Tom Wolfe: “the
new
Wild Man of American
l' teratur e"/1966.15, Patti
I Boyd, Mrs George
^ Harrison, at home,
\ %<• y< IJ making a bamboo
*V jjk sX ' f' curtain to be painted all
colours of the spectrum”,
an d 16, “the sitting-room.
'It's not like this any more
because we change the
furniture about almost
^ every week'," 1968.
17, Frank Lloyd Wright's
“defective masterpiece",
the Guggenheim Museum,
23 housing the art collection
of the late Solomon
Guggenheim, 1960.18, the US pavilion at Expo '67, a vast,
semi-transparent, geodesic bubble. 19, artist Bridget Riley
“tries to express the relationship between repose and
disturbance, limiting herself to black and white and keeping
herself detached", 1964. 20, the President's Palace and
private chapel in Brasilia, designed by Oscar Niemeyer,
1960.21, architects Peter and Alison Smithson,
“photographed against part of their highly praised
Economist complex in St James's", 1969. 22, Eduardo
Paolozzi: "For me the day of the artist struggling with his
bare hands is finished", 1967. 23, “The Adventure of
Building: still unfinished, Australia's fantastic new opera
house at Sydney Harbour is shaped in shell forms, rather like
a vast orange cut in half and then in quarters", 1967. 24,
Salvador Dali, 1969. 25, retrospective look at Fernand Leger,
by Alexander Liberman, 1960. 26, Madame Vionnet's salon,
designed by Jean Michel Frank: "a perfect example of the
modern style, as elegant today as it was chic in 1928", 1967
XV- : - 1
11
-~ M
!
fall winter 1983/84
spring summer 1988
fall winter 1978/79
spring summer 1979
spring summer 1985
fall winter 1984/85
fall winter 1988/89
spring summer 1989
fall winter 1989/90
GIORGIO ARMANI
178, Sloane Street, London
Ill the
EAUTIFUL
|EW
KAYS TO
RESSFOR
KENING
lur clothes...
r ':NSION
w to stop if
•fore it slops you
* idy hormorjy
id spocid beouty
ercises from a famous
■ >w York studio
2 DU 1
I ND THE ELEMENTS
J foutifully warm
50 Pages^
TH NOILMAN *A»*lNtQN
r mediterranean
UHWOTHf SfVINSUS
/HAT'S NEXT
IHtOH A tfAliTY FOAICAST
'HAT'S NOW
msoasmtmancasm
WUTtlOOM IHM C4S
taunt contist
before
DYOL
W IDEAS *
THE FARIS
ID RQ
ME ^
>LLECT
IONS
■Mi#
i r A
«i • sw*i si j n\^i
ii 5!•% WvLMJl^SS
LJ
E
Ik* ' " *:
Wi ■’ Jj
>^3 a
! -J % 18
Kile Cewin recently re-
Kdxhe largest branch of
legendary Whistles at 12/
St Christopher's Place
ANVERS
BORN IN THE 70s...
AND ONWARDS
INTO THE 90s...
Streetwise London
shoppers head north
from Bond Street station
and disappear up a
narrow alley off Oxford
Street. A signpost
points the way to
London’s most exclusive
shopping experience:
ST CHRISTOPHER'S PLACE
T ucked away in pretty cobbled streets of old-world buildings
are some of the newest and most directional names in
fashion today. They include Mulberry, Whistles, Nicole
Farhi and Jigsaw plus Jane and Dada, The Changing Room,
Laurence Tang, Body Contact and Europe, which have clothes
covering all nuances of style, while Graduate and T. Burrows offer
the best in casual menswear. For hair and beauty products are J. F.
Lazartigue, Yves Rocher and Toni & Guy Academy. The lively mix
of speciality shops and restaurants reflects the diversity and
eclecticism of contemporary style and taste: gourmands are offered
a choice from Japanese delicacies at Foku and Masako, to
traditional Thai, French and Italian. A new Parisian-style brasserie
will be opening on Barrett Street this summer.
Lucille Lewin, owner of WHISTLES, was an early exponent of
independence from selfconscious designer-label branding, and
feels a special affection for the street. The recently expanded
Whistles flagship store in St Christopher’s Place best
exemplifies the look that Lucille wants to achieve: light and a
sense of freedom are captured in the relaxed elegance of her
designs. The Belgian design
S' S' team, Anne Kegels and
tei I. ■ Martine Hillen of ANVERS,
II nOS On chose this location for their
first shop in England because
“it is a little bit out of the way,
which is how we like it.”
British design award winner
NICOLE FARHI discovered
St Christopher’s Place when, as
a fashion student, she shopped
there. Now firmly established
as one of the most influential
designers in London, she
It has an
exciting buzz that
you don't find
anywhere else in
London...##
Lucille Lewin
108
;
It's a cute street. I like the fact that it's only open to pedestrians and
I love the Japanese restaurant close by.. 99
Myrene de Premonville
- - -
/ < f St
delighted to have fulfilled her early ambition. Imaginative
colours and beautifully soft, textured fabrics are combined
with seemingly effortless flair to create a look that is feminine
and dateless. The timeless quality of PADDY CAMPBELL’S
designs is recognisable in sharp linen suits and the indispensable
little black dress. One of the first designers to recognize the potential
of St Christopher’s Place, she fell in love with an abandoned tea
warehouse in Gee’s Court: “I had to have this building. We had to
completely rebuild it, but the hard work was worthwhile. It’s a lovely place
to work.”
Roger Saul, managing director of MULBERRY, agrees. “This is the
flagship store for over thirty stores worldwide. It has a vital role to play in
projecting a strong identity for Mulberry.” Cleverly combining classic
country style with up-to-the-minute contemporary fashion, Roger Saul has
invented a look that is distinctively British and yet completely
cosmopolitan. Mulberry will soon be adding quality home furnishings to
its catalogue of fine design. ROBERT CLERGERIE is a footwear
designer par excellence . His love affair with shoes flourished under the
tutelage of Charles Jourdan in the early seventies. Since branching out on
his own, his distinctive style has produced a collection of ineffable chic
which is light-hearted but never gimmicky. Clergerie has only one shop
in the UK, which is the showcase for his designs in this country.
MYRENE DE PREMONVILLE, the Parisian designer known for
her sometimes quirky, always intelligent, clothes, is the latest
newcomer to the block. Her designs are expertly cut and are
dictated by the gaps she finds in her own wardrobe. Myrene is
hoping more of her continental confreres will join her in St
Christopher’s Place.
Carole Denford, owner of THE HAT SHOP, sought out a
fashionable milieu for her gorgeous assortment of hats
s from milliners such as Stephen Jones, Sandra Phillipps
and Frederick Fox. Snappy designs attract customers
\ every bit as diverse as the hats themselves including
\ the likes of Pavarotti, Kylie Minogue and Koo
Stark. Famous customers also flock to BUCKLE
MY SHOE, where Nick Rayne has practised his
expertise on a
.. hitherto neg¬
lected area of
footwear-shoes
for children.
Filled with
teeny, immacu-
^ late shoes for
. ^ diminutive feet,
the shop was recently
described as “the best
children’s shoe shop in
Europe”. Society florist JANE
PACKER’S love and enthusiasm for flowers is instantly apparent on
entering her shop: fragrant, colourful blooms and shrubs burst out of every
imaginable container to create a scene of delightful but ordered anarchy. St
Christopher’s Place has proved to be an ideal launch pad for her individual
style. “It has really come into its own, nurturing home grown designers and
bringing in outside talent of a very high calibre,” she says.
It was my
favourite street
and I wanted my
first shop to
be here...^^
Nicole Farhi
• An invitation to Vogue readers
Vogue readers are exclusively invited to shop in style in St Christopher’s Place
on June 19 between 7pm and 9pm. Enjoy a glass of Charles Heidsieck
champagne and celebrate summer style with hot fashion tips from Vogue and
a sneak preview of the new autumn collections. Invitations are £5.00 and are
redeemable for this evening on purchases over £50 in all participating
boutiques. Contact Marie Louise Pumfrey (tel: 071-706 4547).
109
VOGUE PROMOTION
ROUND
AND
ROUND WITH
MULBERRY
3, the Mulberry hero!
4, a selection of the
men's grooming re¬
quisites. 5, autumn
collection 1989
6, the handmade Mulberry
picnic hamper. 7, Roger Saul,
designer and founder of
Mulberry. 8, a Mulberry
summer. 9, a selection of co-
vetable Mulberry luggage
I n the year Vogue celebrates its
75th anniversary, Mulberry is
celebrating twenty years of
success. In spite of being associated
with the design and manufacture of
some of the Nineties most covetable
leather goods and classic clothes,
Mulberry’s beginnings were hardly
auspicious. In the early Seventies, Mulberry’s
designer and founder, Roger Saul, started
making leather chokers and belts on the kitchen
table of his flat and selling them to boutiques
around London. As business picked up he moved
to an old forge in a back garden near Bath, employing
the skills of local craftsmen and using his father’s
extensive knowledge of leather to choose skins and
hides. The idea was to produce a collection of beautifully
made contemporary accessories that combined Roger
Saul’s original, slightly eccentric style with the best English
leather and saddlery traditions. The result was Mulberry’s
now famous 1975 Hunting, Shooting, Fishing collection: belts,
bags, shoes and luggage that could be worn with anything from
country tweeds to the latest fashions and started the look that is
still at the heart of Mulberry’s ready-to-wear collection today.
Twenty years on, Mulberry’s achievements are impressive: accessory
collections that constantly set new standards for design and finish,
numerous export awards including the prestigious Queen’s Award of
Export, classic English clothing and toiletry collections, shops in the
fashion capitals of Europe, the Far East and Canada, the move in 1989 to a
huge new factory in Chilcompton and, this year, the launch of a'new
country-house collection: Mulberry at Home. But perhaps Mulberry’s
greatest achievement is the fact that due to the company’s uncompromising
devotion to quality and craftsmanship, there are Mulberry leather goods and
clothes all over the world that have transcended their roles as fashion
accessories and become well-loved old friends.
1, summer collection, 1989. 2,
the essential Mulberry plan¬
ner which is now available
with its own software system
CELEBRATE
jil Sander • Ov. s uarcons • Aiaia
Hykiel • Montana • 1. Mugler • Byblos
e & Gabbana • Emilio Puc Gianfranco Ferre
,iny ’Romeo Gigli Max Mara Missoni * Moschin
■’rada • Patricia Underwood • lobert Lee Morris
isper Conran 'mut Lang • D ;aran • D.K.N.
Gn Silk • K» ,e Hamnett • • Jil Sander
>ns • Aiaia • S kiel • Montan
• Byblos • Do* Dbana • Emili
dnco Ferre • G^ ieo Gigli • Ma
ssoni • Mos' da • Patrici
jd • Robert Lee mums jper Conran
Lang • Donna Karan • Y • Go Silk
^rine Hamnett • Ozbek • Jil S • Comme de
.cons • Aiaia • Sonia Rykiel tana • Thieri
bugler • Byblos • Dolce & Gabb Emilio Pucci
YEARS
IN VOGUE
1970-1991
23-27 SOUTH MOLTON STREET
LONDON W1Y1DA
6C SLOANE STREET LONDON SW1
TELEPHONE: 071-491 7833
GIANNI
VERSACE
Thank yon, Liz and all of British Vogue for being
such an inspirational leader in Fashion and such a
great supporter of modernity, energy and elegance.
We think you are all terrific.
Love to everybody for at least another 750 years!
oJM
A of tlu> future
Giunni Vernee at the Victoria and Albeit Museum
SNOWDON'S RARE BREEDS
Patrick Demarchelier
VOGUE 1970-1979
bisexuality, divorce. (The obsession with relationships characteristic of
the Me Decade was fuelled by a fashion for candour — attention-
seekers were prepared to tell all, celebrities were expected to. The
spouses of Jilly Cooper, Kingsley Amis etal answered Vogue's question:
What are They Like To Live With?) In the Seventies, the media decade,
celebrity was on a par with royalty:
the social pages of Vogue show
Elizabeth Taylor, Richard Burton,
Roy Strong, Rudolph Nureyev and
Peter Sellers - pictured with The
Queen and the Queen Mother, who
previously would have been shown
surrounded by courtiers. Lord
Lichfield’s fashionable “Afro” hairdo
inspired Adel Rootstein to use him as
the model for one of her shop-
window dummies. For really glam¬
orous social features. Vogue offered
events like Truman Capote’s ball of
the century in New York, or the
perfectionist entertainments of
Marie-Helene de Rothschild in Paris.
Princess Margaret with the Tennants
in Mustique seemed modest in
comparison.
The traumas of the age were naturally
reflected in fashion. Skirts went mini¬
midi-maxi with shock. The appetite
for escape, fed by films, saw every period plundered with dizzying
rapidity: bodged Art Deco effects were universal; the Forties
were briefly celebrated by upswept hair; the Fifties had a short
look-in, courtesy of Grease. But there were the thousands of
Lizzie Siddals - their fashionably vacant pallor achieved by Biba's
livid foundations and nearly-black lipstick; corrugated hair
uniformly hennaed, they wafted about catatonically in mud-
coloured wisps, preferably from antique-clothes shops. Less
“sensitive types whistled in the dark with shrill optimism in paint¬
box primaries - electric blue, sunshine yellow, bright red - wore
babyish clogs and overalls and covered themselves with cheery
badges (rainbows and butterflies were particularly popular
motifs). The “Annie Halls” were equally reluctant to grow up,
and were proud to seem confused about everything - especially
gender. Hairdressers had a wonderful time - developing into a
powerful social subculture themselves. Hair, in general, was
considering what to do: for a time women’s eyebrows disappeared
during the Thirties retro and Pre-Raphaelite phases; men
sprouted moustaches or sideboards, turning into peacocks or navvies.
This “multiple aesthetic” made for a visual smorgasbord: in Vogue a
fashion spread of Sarah Moon’s grainy, romantic, soft-focus shots might
be followed by Helmut Newton’s glossy decadence starring Iman and
Marie Helvin, as if from another planet.
As the decade wore on, everybody was marching to a different drummer
in ever-increasing zig-zags. As everybody divided into tribes, their
clothes advertising membership, journalists stumbled over each other in
the scrum to identify and classify emerging groups. Vogue's Alexander
Walker noticed people had changed from asking “Who Am I?” to
“Where Do I Fit In?”, concluding that their T-shirt might offer some
suggestion pro tem. Debate about the social significance of style reached
its climax when punk arrived: a medium with a very unsubtle message, it
has endured (and was naturally co-opted into fashion). But there were
two other potentially overshadowing groups in the Seventies who
definitely knew who they were: the Arabs, super-rich from the energy
crisis, their style requirements enriching couturiers, architects, and
interior designers and estate agents in London; and the Japanese, newly
emerging as a powerful economic force. ■
T he Seventies were the hungover Monday, the day of reckoning
after the long weekend (that was the Sixties, that was). Militant
trade unions demanded more money; racial minorities, women,
homosexuals demanded more rights; ecologists, assessing the
damage of a devil-may-care approach to world resources,
pressed the panic button. Vogue treated Future Shock as a reality
through the whole troubled decade, soliciting the views of Samuel
Beckett, Peter Medawar, Karl Popper, Arthur Koestler, Joan Baez,
Kurt Vonnegut, Arthur Schlesinger, Germaine Greer, Anthony
Burgess and Groucho Marx.
“Decimalisation”, ostensibly to prepare us for entry into the Common
Market, didn’t disguise a terrifying period of inflation - the pound of
1970 was worth 35p in 1979. The miners’ strike meant “three-day
weeks” as industry and business shut down to conserve fuel, and
households lived by candlelight. Prices rose week by week, causing
panic-buying and hoarding. Excitable people likened the crisis to
Berlin in the Thirties.
i Terrorism became an international freemasonry as the Baader-
3 Meinhof and the PLO cooperated in arms and intelligence with the
\ IRA, whose murderous bombing campaigns were bloody and
j unnervingly random. Every prosperous businessman feared hijacking
) or kidnapping.
It is no surprise that self-suffi¬
ciency - a solar-powered small¬
holding of one’s own - was the
• popular daydream. Although
Vogue carried plenty on recyc¬
ling, wildlife preservation and
ecology, readers with pinched
household budgets had more
than a general interest in con¬
servation. Arabella Boxer
gave recipes for beans and
“wholefoods”; lentils became
synonymous with virtue; scrub-
bed-pine kitchens from Habitat
glittered with Kilner jars;
there was an epidemic of
brown rice, patchwork and
tatting; alternative-technol¬
ogy “how-to” books sold in
their millions. Vogue showed
Jean Shrimpton in her Welsh
hideaway: “She’s a girl with¬
out frills, looking for her own answers.”
Everybody was looking for answers: in the I Ching, handwriting
analysis, biofeedback; in ashrams - all repeatedly discussed in Vogue.
They escaped into drugs {Vogue published a pharmacopoeia of
tranquillisers and copious advice on depression), into “open marriage”,
1, dogstooth check suit,
by Bus Stop, 1973. 2, plaid coat
with white belt, by Alannah
Tandy, 1970. 3, Mick Milligan's
enamel-winged fairy on
a chain of stars, 1972
COVERS (PAGE 107) BY CLIVE ARROWSMITH, BAILEY, ERIC BOMAN, ALEX CHATELAIN, WILLIE CHRISTIE,
PETER KNAPP, BARRY LATEGAN, NORMAN PARKINSON, TOSCANINI
Women in the Seventies dipped into a huge
dressing-up box of looks... 1, Marie Helvin in an
“extremely compromising" pleated mini, plunging
shell-pink shawl and blonde Cleopatra wig, 1976.
2, in Zandra Rhodes's breast-baring turquoise
satin, 1976. 3, sporty, high-cut Lycra swimsuits
made the most of athletic figures, 1979. Vogue in
China: 4, at the locomotive factory, Datong, in
charcoal brocade trousers, by Genny, and wool
zipped blouson; 5, in Peking's Tian'anmen Square,
in Chloe's heavy-rib white wool sweater-dress and
coat, 1979. 6, less swimsuit, more long, brown legs:
Shuji Tojo's loop of pleated jersey, 1976. 7, Kenzo's
unmistakable summer cottons, 1978. 8, Thea
Porter's silk chiffon nomad at Goreme, Turkey, 1971. 9, Courreges's frog suit:
black vinyl jacket and shorts, goggles, and buttoned flipper boots, 1970.10,
hitch-hiking in denim shorts, striped cotton blouse and spotty kipper tie, 1973.
11, faces were painted like gypsy caravans. Here, colour fronds and tendrils on
Ingrid Boulting mirror the roses of Saint Laurent's scarf, 1970.12, dandy tweed
trouser suits, 1971.13, Saint Laurent's poster-paint-bright fox fur and lambskin
jackets, 1971
electric legs
14, model Iman
Abdulmajid, “an
H impala of
■ elegance", 1979.
H 15, Saint Laurent's
H enfant du paradis. 16,
■ actress Dominique
■ Sanda in black jersey
■ Saint Laurent, 1974.
I 17, all-American shirt,
I trousers and cap, L.A.
f 1971.18, country-girl
gingham smock, from
Rosie Nice, Seychelles,
1971.19, Issey Miyake's
scarlet bandeau swimsuit,
1977. 20, Norma Kamali's
roller-disco stretch
spandex dress, 1979. 21,
Britt Ekland in a Miss
Belville print patchwork
maxi-dress, 1970. 22,
shaggy hippy boots and
woolly clogs, 1971. 23,
sunbright tracksuit, from
Yellow Colour Promotions,
Portugal 1978. 24, Saint
Laurent's matador, 1979.
25, two-tone leather and
suede lace-ups with chunky
crepe heel, by A&F, 1971.
26, midnight garden¬
ia party dressing, by
Adrian Cartmell,
% 1979
<>r
f
17
26
PfIBQO AMD DELIA
Fashion as fantasy... 1, porcelain-faced
Petrouchka, painted by make-up artist
Serge Lutens - Seventies eyebrows were
plucked to the finest lines and lips heavily
glossed, 1970. 2, Pierrette in tutu skirt from
Freed, leotard and tights from The Dance
Centre, 1975. 3, clothes for New Druids:
sheepskin coat with monastic hood,
by Boutique Furs, and Aran hooded dress
and socks, from Ireland House, 1970.
4, Leonard's halo of short, blonde hair;
colour by Daniel at Leonard, 1972.
5, galactic leather great-coat and Biggies
hat by master of overstatement, Thierry
Mugler; star brooch from Chloe, 1978. In
1970 clothes became pure decoration:
6, Bellville Sassoon's hand-painted wool
crepe coat, and boots. 7, Cacharel's country
girls in soft jersey, 1970. 8, Argentinian
designers Pablo and Delia's drawing of
Grace Coddington in their batwing-sleeved
silk jersey evening dress, 1972. 9, Saint Laurent's disco satins: mini-slip
with ruffled chiffon cloak and bright, fake jewels, 1978.10, Mary
McFadden's pleat dress in coffee silk, 1979.11, gleaming black cire
dinner suit and rubber rain-kimono, both by Saint Laurent, 1975.12, the
new tank-top in Deco-inspired cashmere, from Ballantyne, 1972.13,
Vogue in Turkey: sheer georgette piped and hemmed in silver, by Thea
Porter, 1971.14, Frank Usher's simple tube of black crepe, 1975
ERYDAY
mr
1970-1979
20
dress and matching jacket from Antiquarius, 1974.
18, Driving Everyone Wild: strawberry sequin and
satin tulip dress by Bruce Oldfield, 1979.19, Pablo and
Delia's beauty in fur tails: suede tabards painted with
spots and flowers and hemmed with raccoon tails, 1971.
20, Sonia Rykiel's long wool stretch of pink and cream
stripes, 1976. 21, Butler & Wilson's black and white
Deco bangles; chequerboard nails by Revlon, 1973.
22, cap-sleeved candy-stripe cotton jersey swimsuit
by Jap, and the biggest shocking-pink sunhat, 1977.
Hair was often rainbow coloured - emerald, electric
blue, fuchsia, cinnamon - and decorated with ribbons,
butterflies, flowers and feathers. Here, 23, deep-plum
hair by Daniel at Leonard caught up in Pablo and
Delia's painted hair slide, 1971. 24, Charles Jourdan's
lethal-looking bow-tie shoes with a four-inch
stainless-steel heel, 1977. 25, "It puts all the fun back
into clothes, all the glow back into your looks, and
it goes with red lips, rosy cheeks, blue eyes..1972
colour-clash canvas jacket and tam-o'-shanter, by Emca
15, Wendy Dagworthy's coral cotton
shorts and bandeau top photographed
in a whitewashed Tunisian village,
1976.16, Vogue's Hawaiian water
nymph in Gauguin-blossom jersey,
by Bob Schulz, 1970.17, nostalgia for
a quality that was impossible to find in
modern fashion led many women to
antique clothes: clinging white sequin
Patchwork and applique was a vital ingredient of the
early Seventies look: 1, detail of a Nigel Lofthouse
handbag, 1970. 2, retro swimwear: long-line swimsuit
and Lycra racing cap, 1979. 3, Bellville Sassoon's daisy
lawn chiffon blowing on to Estee Lauder's bright make¬
up. Daisy brooch of diamonds and peridot on one ear,
1973. 4, Saint Laurent's Forties-style beach look: left,
loose white trousers and tight wrap halter of green and
white taffeta checks, cream straw hat; right, long, loose
cotton jacket and trousers, pistachio straw hat, 1972.
5, silk crepe de Chine, sashed and flowing into big
sleeves, head parcelled in a fine scarf, by Jean Muir,
photographed in Monument Valley, Utah, 1971. 6, Vogue
was full of natural diets and beauty routines. Here,
Revlon's Moon Drops Stimulating Mint Masque revives
tired skin while cucumber soothes strained eyes, 1972. 7,
getting a deep tan on Cairns beach, Australia, in the tiniest
pink jersey bikini, by Jersea, 1975. 8, "The new face is a
delicate facade, porcelain pale, and on top of that it is
coloured delicately, one colour misting away at the
edges into another," 1970. 9, model Sue Baloo, china-doll pretty in Revlon's new blue make¬
up, 1972.10, at Macchu-Picchu, Peru, Gina Fratini's alpaca smock-blouse and striped alpaca
skirt, Peruvian knitted hat and halo, 1971.11, "pure calyx shape of heavenly yellow": the
sculptural line of Cardin's coat over a richly embroidered velvet dress, 1973.12, Bill Gibb's red
fox and cream wool jacket over a fitted cream suit, elongated by Bailey, 1973.13, Biba's
romantically pretty summer face: big, dark eyes and rosy brown colouring, 1971.14, Bill Gibb';
tie-dye peasant dresses: peach and gold lace smock with a handpainted butterfly on the
yoke, and billowing linen and lace dress, 1970
15, futurist beauty in Revlon's new
personalised skincare, 1970.16, daisy
bikini from Biba, gold stilettos by Manolo
Blahnik, body shaped by Vogue's Bikini
Diet: "Fish is the perfect food for bikini
people... you won't feel hungry...
because it is satisfying as well as
healthy and pure," 1975.17, illustrator
Antonio Lopez draws Sonia Rykiel's
striped cotton jersey tie-front bra
top and shorts, 1975.18, in 1971
Vogue broke fashion etiquette by
asking "Is Bad Taste a Good
Thing?": "good" bad-taste satin
shorts, satin cherry blouse.
Both by Electric Fittings. 19,
"Mood: deliciously idle. Space:
between the sea and sky on the roof
of the Crane Beach Hotel" in Jane
Cattlin's silver jersey swimsuit,
Barbados, 1973. 20, in 1976, Vogue
went to Russia for the first time:
waving the flag before an Azerbaijan
propaganda poster in Jap's brushed-
cotton shirt and skirt. 21, in 1975
Norman Parkinson photographed
the Paris couture at Versailles. Here,
Jerry Hall in Givenchy's
silk jersey sheath, laced
with gold-embroidered kid
1 and 21, the enduring partnership between Arabella Boxer's writing and Tessa
Traeger's pictures for Vogue's food pages began in 1975. Arabella Boxer revived
the flagging interest in British cooking with her new approach to healthy and
traditional food. 2, Vogue's innovative profile, My Day, sparked off many
imitators. 3, dinner a deux Seventies style. 4, Elisabeth Frink at home, 1977. 5,
exotic locations have always been important for Vogue: the Shahytad Ayra Meh
monument in Persia, 1975. 6, New York designer/decorator Angelo Donghia find
escape from the harsh realities of a steel and glass world in this romantically
beautiful tent... "installed in his drawing-room in winter, pitched in the garden i
the summer", 1971. 7, Michael Haynes's Perspex furniture, 1972. 8, the interior of
Manolo Blahnik's shop in Old Church St, Chelsea, 1979. 9, Cecil Beaton's
watercolour of Tangerine Life, the interior of Villa Leon I'Africain, Tangier, 1979.
designer Gae Aulenti's apartment in Milan, 1970.11, engagement photograph oi
Natalia Phillips and Gerald Grosvenor, now the Duke of Westminster, 1978.12,
Sylvester Stallone on Rocky: "people is what it's about, not bullets, not fire, not
crap, gimmicks, junk like that", 1977.13, stars from the hit musical A Chorus Line
from left: Ron Kurowski, Ron Young, Jane Summerhays and Tom Reed. 14, life
is a Cabaret: Liza Minnelli, "all singing, all dancing, all gutsy, zany,
irresponsible and vulnerable", 1972.15, Kenny Everett, "the multi-media
maniac", 1979.16, Elizabeth Taylor with her shih-tzu Mariposa, 1972.17, Bill
Gibb "laughed when Elizabeth Taylor wore one of his dresses back to front
on television", 1977.18, actor Helmut Berger poses in Saint Laurent for Men in
Vogue, 1971.19, The Great Gatsby: Mia Farrow as Daisy and Robert Redford
as Jay Gatsby, 1973. 20, sharp-suited Ian McKellen, 1973. 22, diminutive
Russian gymnast Olga Korbut won Western hearts and three gold medals at
the 1972 Olympic games. 23, Lady Sarah Coke and Major David Walter
leaving Holkham Hall after their wedding, 1970. 24, Rudolph Nureyev, 1972.
25, Morecambe and Wise: "irrevocably native, linked in the language like
roast beef and Yorkshire pudding", 1970
Andy Warhol
V0*Xl{
1 ^ r _ \\
i{W»C
5S7,
►•te r i
jV.«n
GEORG I
Georg Jensen is a unique style in silver, born from the highest demands for artistic quality
and craft - as fashionable and desirable today as in 1916 and every decade since.
Brooches and ring in handmade sterling silver set with moonstones.
Available in London at our showroom
15 New Bond Street, London W1Y 9PF, Tel: 071-499 6541 & 071-629 3622
and at Liberty
Available outside London at: Bath E.P. Mallory -Burford Stone Gallery Cambridge Catherine Jones -Cheltenham Beards • Dublin Weir & Son - Edinburgh Hamilton & Inches • Leeds Cadeaux • Leicester George Tarratt
Liverpool Boodle & Dunthorne - Manchester Hancock & Sons - Northampton Michael Jones - Nottingham Baigrie & Foreman -Sheffield John Sinclair -Skipton Thomas’s- York Mulberry Hall
pRLDVfeV
eu spirit inJiishmi n<Ph:
^>bi:biuuj^
aobljTmn sn'ud
m •y%s si>i:\< .h]
Ai r vfi/xrr
M vc.ici
TARRLN
ST A MEI
fcESHEI
PARlSGOm'URE.
JADI
JAGGEI
INTERNATlONi
COLLECTia
THE NEW PLEASURES
OF FASHION ANO BEAUT
Th e bra for the way you are.
WORKERS
FOR FREEDOM
Workers for
Freedom, Gordon
Fraser and Richard
Knott, below. W ool
bondage jacket,
right, and wrap
skirt. Both by
Workers for
Freedom
“Just the most
wonderful fibre,
like working with
TREVOR LEIGHTON
J ean Muir, sculptress of fluid fabrics, declares: “Harrods is
a national institution. It is the best” Miss Muir, as she is
fondly known, has her timeless collection in Harrod’s
International Designer Room and has been selling to the store
for around twenty-five years. She is also a great customer. “It’s
a very personal feeling - it’s my comer shop.”
On working in wool, she comments that it is “just the most
wonderful fibre, like working with sculptor’s clay - so supple.”
Miss Muir adds, “wool is really part of one’s life, one of man’s
oldest developments, and it will always be the most beautiful
material.”
Betty Jackson likes having her collection in Harrods “simply
because I’m sure that it’s the best-known store in the world.”
Her wonderfully adaptable clothes are in Harrod’s
Contemporary Collections and she has great faith in the
Harrods “team”. Betty feels that they understand the need for
designer merchandise. “They want to get it right... if they
believe in you they are highly committed.”
She also requires that the fabrics she works with are modem
and versatile - and wool measures up to her high demands:
“The beauty of it is that it’s not seasonal, it’s worn through
winter and summer.” Whether monochromatic or deep-dyed,
Betty Jackson enthuses about wool. She adds
characteristically, “Once you wear beautiful fabrics you can’t
go back to crumby ones!”
The combined talents of Graham Fraser and Richard Knott at
Workers for Freedom make for a collection to be reckoned
with. Awarded the accolade “Designers of the Year” in 1989,
they have gone from strength to
strength, and their inimitable
clothes can be found in Harrod’s
Contemporary Collections.
Working with Harrods, they say,
very special because “it gives
tremendous long-term support,
which in turn helps you
concentrate on creativity.” Like
many top designers they find
that wool gives them all the
flexibility they need. Graham
comments favourably on the soft
and crisp qualities of Cool Wool
and says that it “enables you to
z add a delicate warmth to a
>
^ summer collection.”
BBSnHBD W&ESSSSSSSt
SmbSm RH Bpgg
o
Masculine wool
jacket, right,
and skirt, illustrated
by Richard Knott.
Jean Muir, right
Harrods and Woolmark salute 75 years of Vogue
o
o
c
i
Betty Jackson, right.
Navy wool crepe
jacket, left,
and shorts with lime
stripe. Grey wool
trouser suit,
below right. All
by Betty Jackson.
Pink wool crepe
dress, below left,
and swing coat.
Orange wool crepe
jacket, below,
over black vest and
trousers.
All by Jean Muir
MICHAEL WILLIAMS
style and look forward to working with la creme de
la creme well into m the next millenium...
FORCES
BETTY JACKSON
w88l#
PURE NEW WOCX,
AS SEEN IN
BUTLER&WILION
PHOTOGRAPHER: ANGUS ROSS
Photographer: Jean-Plerre Masdet. Still life: Sudhir Pithwa. Stylist: Zee Shore at Terrie Tenaka. Hair and make-up: Helen Frampton at Mandy Coakley. Sunglasses, by Fior. Photographed at Claridges.
ROLI
Doubleface, jacket,
right with wool crepe
skirt, silk blouse and
scarf.
Silk dress, right , with
matching earrings
and brooch.
Co-respondent shoe,
be/ow,and ballerina
pumps.
woman of strong opinions and impecable taste - and her devoted clients love
her for it. It is Mrs Dorfman who selects the classical, understated outfits that
have made Roli famous. Because the clothes are a personal selection, they
are consistent; most importantly, they are all exceptionally well cut.
What did it take for this stylish ex-model to break away from her work as an
assistant buyer in a retail outlet and set up on her own? A customer overhears
the question, and answers: “Energy and enthusiasm. Carole has an instinctive
eye for mixing things, and has the confidence to follow a hunch. I’ve been
coming to Roli since it opened fourteen years ago, and I trust Carole
completely!’
This trust is important. Another, younger customer comes into the shop,
which stands conveniently beside Claridges. She chooses an outfit and asks
Mrs Dorfman’s advice. “Perhaps a tiny bit too short. But this’’ says
Mrs Dorfman, singling out a tailored suit, “this will look fabulous on you’.’
It does.
Mrs Dorfman has an unfailing ability to suit clothes and shoes to specific
occasions - race meetings, weddings and suchlike. “But’,’ says the owner of
Roli, “these outfits should be worn the whole time, and not just saved for
special occasions. Every purchase adds to your wardrobe’.’
ROLI, 49 BROOK ST, W1 (TEL: 071-629 5160)
VOGUE PROMOTION
Photographer: Hugh Johnson
* '• • * h '
A diamond is forever.
■
-c- ----- '
KATHARINE HAMNETT
ELLEN VON UNWERTH
DAVID MORRIS
AT ROYAL ASCOT
DAVID MORRIS
-JEWELS-
SIMPLY BRILLIANT
25 Conduit Street, London W.l. Tel: 071-499 2200 and 071-629 5142
also at Harrods, Tel: 071-730 1234, The Inn on the Park, Carlton Tower Hotels and Isetan, Japan.
GOLDSMITH
her jewellery so special? ^
Her unmistakable designs are 1
treasures reflecting the harmony
between stone and setting. Her exceptional
use of colour and innovative approach to
design made her one of the leading and
most influential goldsmiths of the
last decade.
Moving into the nineties, her highly
applauded work is in even greater demand
as women increasingly desire versatile
jewellery which reflects their individuality.
A jewel by Elizabeth Gage is both i
a statement and a fantasy, each A
k one as different as the clients
from all over the world who
collect them.
20 ALBEMARLE STREET, LONDON W1X 3HA
TEL: 071-499 2879 FAX: 071-495 4550
COVERS (PAGE 123) BY PATRICK DEMARCHELIER, STEVEN KLEIN, BARRY LATEGAN, PETER LINDBERGH, STEVEN MEISEL, RICO PUHLMANN, HERB RITTS, PAOLO ROVERSI, TYEN, ALBERT WATSON
VOGUE 1980-1991
M rs Thatcher made Britain safe for the rich. Right on target
the future Princess of Wales peeped shyly from beneath
her fringe, discarded the regulation Laura Ashley for a
sophisticated wardrobe (advised by Vogue), and cheer¬
fully demonstrated her privilege of free range among the
royal jewels. Tiaras were dusted off, the rustle
of taffeta and the popping of champagne corks
were heard throughout the land. The economy
suddenly seemed capable of infinite expansion:
Serious Money was a game anyone could play -
there was lots for everybody. The “trickle-down
effect” was a mega-shower of goodies. Laura
Ashley, who was dressing would-be rustics in the
early Seventies, had become a multinational
corporation selling taffeta and swagged chintz by
the beginning of the Eighties. Ralph Lauren did
even better with his packaging of the English
country-house look. Young women who aspired
to the real thing - but were estate agents for the
time being - crammed their Filofaxes into high-
street copies of Chanel’s distinctive quilted bag.
Throughout this image-conscious decade, “de¬
signer" was the word for everything covetable
(as “executive” had been in the Fifties). There
were “designer jeans”, “designer chocolates”;
Perrier was the “designer water” of choice in
restaurants offering
“designer food” -
nouvelle cuisine -
more for looking at
than eating; the less
there was, the more it
cost (appropriate for
a period in which you
couldn’t be too thin
or too rich).
Between 1980 and
1986 the number of
millionaires in Britain
doubled, and the sec¬
ond royal wedding of
the decade reflected
its times as much as
the first had done: Sarah Ferguson was no
ingenue; she was distinctly entrepreneurial,
positively thrusting, apparently aspiring
more to the glitterati than to the Almanack
de Gotha. She boisterously enjoyed her
new status - in the same manner as the
City’s countless new Nigels and Clives
enjoyed theirs: the Rolex watches, Mont
Blanc pens, Coutts chequebooks and
“gold” cards, Porsches with car phones;
feathering their new nests in Fulham or
their converted Docklands warehouses with
crinolined windows, old silver, mahogany
and somebody’s else’s ancestors; bulk-buying
Eileen Gray furniture or neo-Biedermeier
from Conran, and female accessories from
the firm’s PR agency; frequent-flying Club
class on expenses - to Bangkok, Hong
Kong, New York, L.A. They learnt,
reading Vogue, what an interior should
really look like, what Fiona and Karen
were buying and what their designer
children should wear; they learnt to
aspire to a villa in Tuscany. They
relished the fact that, by the mid-
Movers and shakers: 1, Jean Paul Gaultier, 1989,
and 2, The Four Tops, 1988. 3, Sophie Elgort with
ballerinas Darcey Bussell wearing David Fielden
Eighties, Britain meant “Loadsamoney!”, and everything was for sale
- from Honours to “lifestyles” (an American term for an American
concept). They owed everything they owned - even the nickname
they gloried in, “Young Urban Professional” or Yuppie - to the fact
that Britain was becoming more like the US. At least we still had the
Prince of Wales talking to his flowers and at¬
tempting like King Canute to turn back the tide of
post-modernism — but until the Big Bang fizzled
out he was a representative of a nationally
endangered species.
The motto of the Eighties was “If you’ve got it,
flaunt it - and if you haven’t got it, get it.” Vogue 's
reaction to the American notion of failure as a
sickness - which could be cured by jogging, and
“Dressing for Success” - was to flaunt the new
athletic Eighties body (with breasts and hips
worthy of the name) in power dressing with built-
in “muscle”: Armani, Karl Lagerfeld’s jazzy new
version of Chanel, Claude Montana, Azzedine
Alaia; the American successes, Donna Karan and
Calvin Klein; the riotously colourful imaginings of
Versace and Lacroix; offbeat, confident new
British designers such as Conran, Galliano and
Ozbek. A picture was worth a thousand words
throughout that semiological decade.
In the Eighties, the arts also were a growth
industry. Vogue profiled every
comet that blazed through the
international cultural galaxy -
from the exploding stars to the
enduring lights. Lord Snowdon
fixed public figures in his view¬
finder, contributing words and
vivid images, and, on more
than one occasion, controversy.
Vogue ranged the world for
startling visuals, celebrating the
sheer bounty of images. An
explosion of glorious new
photographers explored Vogue 's
wildest dreams. Baroque lavish¬
ness and expensive minimalist
simplicity were seen almost
equally. Paolo Roversi shot neo-Romantic naiads
swathed in acres of chiffon by Romeo Gigli, and
set a style: Patrick Demarchelier made couture
equally real in a circus setting or a sidewalk
cafe; Peter Lindbergh’s nouvelle vague
images conjured untold narratives in
grainy black and white; Bruce Weber’s
epics using animals, children, vast land¬
scapes and regional life were bench¬
marks. Vogue analysed each shift of
emphasis in the fashion mentality as women
redefined themselves, and as designers coped
with those changes. There was a broad range,
from the executive workhorse through the
reaction against that image; from the sexually
voracious Madonna-wannabe (who shouts the
loudest wins), to the womanhood goddess at the
end of the Eighties - “mature, self-possessed, and,
in the years to come, commercially speaking, She-
Who-Must-Be-Obeyed”. A decade which was marked
by businessmen being knighted for go-getting (and
then jailed when it was discovered how), the Eighties
started out with getting your jewels out of the
4 vault - and ended up by pretending you used
unleaded in your car. ■
... and Cynthia Harvey wearing
Jasper Conran, 1989. 4, Christy
Turlington resplendent in
Antony Price
plumage, 1987
PATRICK DEMARCHELIER, ARTHUR ELGORT, EDDIE KOHLI 135
|l||
ajfJg
lot of thinking and dreaming
about things in the past and
the future... all the people
who have existed there/'
Andrew Wyeth's New
England: elongated
linen skirts, soft
cashmeres and pale
"salt-bleach colours", 1983.14 to 17,
"This look is strongly of the present and
deeply reminiscent. The spirit is one of
practicality, rectitude, charm and first-
up, best-dressed": Nebraska pioneers
of 1982 in button boots, smocks and
breeches, aprons and hand-knits.
18 to 21, Indian summer in the
Adirondacks: black layer
dressing, tweeds and
fisherman's knits, 1983. 22 and
23, natural country looks: fresh,
scrubbed faces, tousled hair,
Fair Isles and tartan: "learn to
make the city coat, the tweed
suit, work in the country by
whipping them up in bright
twists of tartan, thick wraps of
cashmere plaid, toughened with
ribbed wool tights, big rough-
knit sweaters, great, green
wellies...", 1980. 24 and 25,
Vogue in the Australian
outback, 1980 - keeping cool in
army surplus, striped cottons and "hats necessarily shady that,
to deter the flies, may be hung with corkage from all that fine
Australian wine...". 26 and 27, beauty and the beach boys on
Bondi and Narrabeen beaches, NSW
Eighties looks... sportswear was
everywhere; pioneered by Norma
Kamali with her sweats and ra-ras,
the look was very young, very healthy,
very American: 1, tight cycling trousers,
striped zip-neck jersey and jazz shoes,
1980. 2, the Eighties body: supple, toned
and strong, 1983. 3 and 4, Calvin Klein's
effortless shapes and understated
colours, 1980. 5 to 9, Santa Fe fashion:
bright, Navaho blankets, white cotton
and lace, armfuls of turquoise and
silver, 1981. 10 to 13, "I do an awful
BBM
mm
,VM)FUJ\
: OFE\SI!»\
Eighties evening looks ran the gamut from the utterly extravagant
to the astonishingly simple... 1, asymmetrical column of silk and
wool by Geoffrey Beene f 1986. 2 and 8, celebrating the style of the
young Elizabeth Taylor in Hollywood, 1983 - guest stars included Matt Dillon,
Vincente Minnelli and an unknown actor called Kevin Costner. 3, “Who is this
creature?... Her party alchemy is irresistible. Her tastes can run to the
resplendent": Donna Karan's heavy
gold-sequinned sarong, 1985. 4, Issey
Miyake's body-moulding silver
rubber breastplate and grey silk
cape, 1985. 5, rhythmic gymnast
Stacy Oversier dances in Saint
Laurent's crepe and chiffon suit
embroidered by Lesage, 1984.
6, exuberantly bustled silk faille and
lacquered straw pagoda hat, by
Lacroix at Patou, 1986. 7, Vivienne
Westwood's rover look: hitched
pettidrawers, sagging muslin
stockings and pirate jackets,
1981. 9, New York ballet
dancer, Stephanie Saland, in
Sheridan Barnett's dance-
wear-inspired tube of
fine jersey, 1985.10, John Galliano turned tailoring on its head with
his waxed-cotton pearly queen, 1985.11, the new body-
consciousness: AlaVa's second-skin leather suit, 1983. 12, Uma
Thurman in Bodymap's gold-on-black stretch Lycra bellbottoms,
shirt and bowler, 1986.13, filmy tulle dress and train scattered
with multicoloured sequin hearts, tulle and sequin headdress,
by Saint Laurent, 1980. 14, Calvin Klein's elongated tailoring,
1982.15, in 1986 Tiffany returned to Bond Street after an
absence of forty years. Here, Elsa Peretti's silver cuffs and
armlets from Tiffany. 16, Paul Golding's ethereal duchesse
satin with a balloon skirt of ivory moire and muslin wimple, 1986
17, Liberty's body-wrapping eau-de-Nil chiffon and fa^onne silk
scarf, 1986. 18, the 1985 dandy was a rococo confection of brocade,
tulle and Watteau colours. 19, an Eighties Louise Brooks in
Givenchy's violet satin, 1982. 20, Jasper Conran's brilliant Fauve
silks, Morocco 1984. 21, New Romantic pirates washed up on Bequia,
1981. 22, the Grecian simplicity of Fortuny-style silks, by Patricia
Lester, 1985. 23, grosgrain
shirt and crepe sailor
trousers from Lagerfeld's
first collection for Chanel,
1983. 24, silver satin bias
by Anne Klein, 1982. 25,
French actress Isabella
Pascoe as the couturier's
favourite client, Madame
La Marquise de La Robe
Merveille, in Dior's
architectural violet
and black "folies
de grandeur ",
1985. 26,
Chanel's
sorbet taffeta
frock coats
and leggings,
1985
198Uil991
27, Yamamoto's
giant dust
coat over cotton
and Lycra "swim
pieces", 1984. 28,
Saint Laurent's velvet siren
sheath flounced with
ruby satin, suede
gloves and
feather
muff,
1982
139
1, Alcria body dressing: curvy "ballet" jacket
and stretch trousers, 1986. 2, Principal Boy in
long, velvet jacket by Nicole Farhi, leggings
and thigh-high boots, 1988. 3, New Avengers
cling by Liza Bruce, 1990. 4, Gianni Versace's
kick boxer, 1990. 5, Southern belle in
Dior's huge gold train, 1990. 6, Cindy
Crawford shows her fashionably
voluptuous decolletage in Bellville
Sassoon, 1988. 7, AlaVa's waist-
whittling sheepskin, 1986. 8,
Emanuel's mini-sheath and
cartwheel, 1987. 9, Bill
Blass's pillar of mono-
/ chrome silk crepe, 1988. 10,
bomber T-shirt and skirt,
B by Chanel, 1987. 11, the ^
urban cowgirl in ruched
1 bikini by Liza Bruce, and 1
leather, 1990.12, Vivienne 1
• • V Westwood's underwear as
swashbuckling outerwear, 1990.
V°9 ue ‘ n Mexico: stole by
Arabella Pollen, 1990. 14, Paris
couture goes Bardot: Lacroix,
fl piiBB M* 1989. 15, draped bikini by
Norma Kamali, 1990. 16,
Jean Muir's lightweight
' jersey coat, 1986. 17,
Chanel's jacket and flares,
2Z* ^ 1988.18, diva-dressing in
^ AlaVa's ankle-grazing sheath,
BflHKggj; 1988. 19, the new streamlined
|BB|B |i|P swimsuit by
: Norma Kamali,
■HBB 1986. 20, AlaVa's
halter and corset- uj.
Sant'Angelo's
V bodysuit and
■ cloak, 1990. 22,
W Christy Turlington in i
J Chanel and Linda
Evangelista in Moschino, 1990.
23, Saint Laurent's couture
feathers, 1987. 24, underwear
as eveningwear, 1989. 25, the
new curvy figure in Patrick
Kelly's sequinned stretch, 1988.
26, Antony Price toga, 1988.
27, jersey empire dress and
cape, 1989. 28, fake leopard-skin
skirt with silk spencer, 1986. Both
by Geoffrey Beene. 29,1988 saw
new purity of line epitomised by
Ozbek's catsuit. 30, the essential
evening dress by Victor Edelstein
and Anouska Hempel, 1987. 31,
Lacroix's first collection turned
couture frou-frou - all feathers
and nipped-in waists, 1987. 32,
Cerruti psychedelia, 1990. 33,
sculptural mini and bolero by
Montana for Lanvin, 1990. 34,
Kim Bassinger running wild in
{ Saint Laurent couture, 1989
in 1980. 3, Andree Putman, 1990. 4, the salon in
Karl Lagerfeld's "Roman Studio", designed by ^
Massimo Zompa, 1986. 5, "Every good theme
park has a man-made mountain": Mount .
Mayday in Disneyworld, Florida, 1989. 6, I «
Manolo Blahnik's sitting-room in his converted /V
"London lobby", 1986. 7, Philippe Starck's bar at * ✓
the Royalton Hotel in New York, "the only old- |
fashioned thing is the service", 1989. "La Maison
Pour Joseph": 8, the living space, and 11, the 15
bathroom designed by Eva Jiricna, 1984.
9, Eduardo Paolozzi, "the hand as the sculptor's tool", 1988. 10, Jeremy Fry's
house in Malta, 1983. 12, President M glass table by Philippe Starck, 1985. 13,
The Princess of Wales with Prince William and Prince Harry, 1989.14, Richard
Rogers's house, "a home more than an architectural manifesto", 1988.
15, Romeo Gigli's studio in Milan, 1988. 16, the guest tower at Arrow House,
Napa Valley by Julian Powell-Tuck, David Connor and Gunnar Orefelt, 1989.
17, CZ Guest, 1989.18, Geoffrey Beene painted the backdrop and his coat for
this portrait, 1990. 19, Tina Turner "performs with all the energy of a 747
taking off", 1989. 20, Yves Saint Laurent, 1987. 21, Marianne Faithfull, "I've
always been very attracted, and indeed seduced, by beauty, by glamour, by
fashion, by wanting to be hip, but it also provokes intense fear/' 1989
22, "Passion Flower"
^ ar ^ ara Cartland, 1988.
23, Madonna and Child by
BlSv Mats Gustafson, 1990.
24, Giorgio Armani, 1986.
25, Kylie Minogue in Thierry
a Mugler, 1990. 26, Miami
pool-life by Bruce Weber,
1990. 27, Gianni Versace:
"When he does something
he does it con brio : his short
is shortest, his sexy blatant,"
Badness" Prince, 1990.
29, Manolo Blahnik's Exotic
h': Calf from Andy Warhol's
colouring book, 1990. 30, Sir
Richard Attenborough and
Ben Kingsley, 1982. 31, "The
real thing": Mike Tyson,
" heavyweight boxing
jP champion, 1989. 32, Billy Boy
with wig and daisy, Paris
1 mMmm 1989 ’ 33, Billy ldolf 199 °-
1 JBHB ^4, Madonna, in a black
silk slip, by
Christian Lacroix, 1989.
35, "Wind in the Willows
Picnic" by Tessa Traeger, 1983. 36, Madame
Gres, 1984. 37, Nancy Reagan, 1989.
38,1949 Man Ray illustration,featured
1988. 39, Matt Dillon, 1983. 40, George
Michael, "his supreme swarthiness" 1988.
"Queens of Soul": 41, Aretha Franklin,
1990; and 42, Patti Labelle, 1990.
43, Azzedine AlaVa, 1990. 44, Brigitte
Nielsen, "I intimidate men and I make
women jealous," 1988. 45, Barry Flanagan,
1982. 46, Bob Hoskins, 1982
NICOLE FAR Ml
65 Sydney Street Chelsea London SW3X 6PX Tel: 071 3524626
46 Fulham Road Chel;sea London SW3 6HFI Tel: 071 581 8811 '
British Fashion Awards
DESIGNER OF THE YEAR
for
British Couture
Photograph by Bruce Weber Vogue July 1983
The timeless white shirt
29 Beauchamp Place, Knightsbridge, London SW3. Telephone 071 584 2462.
LONDON
NEW YORK
SAN FRANCISCO
TORONTO
N. Peal, 37, 54 & 71
Burlington Arcade,
London W1V9AE
Tel: 071-493 9220
192 Piccadilly, W1C 9LG
Tel: 071-437 0106
94 Brompton Road SW3 1ER
Tel: 071-225 2011
Harvey Nichols
To order: VUK691
H arvey Nichols invites you to join in the
celebrations for Vogue’s 75th anniversary.
On June 11 Harvey Nichols is hosting three unique
fashion shows, featuring fashion and sty le from
the Twenties to the Nineties.
The French cosmetics house Lancome lias created an
exclusive makeup “look” in celebration born
75th and the event. All guests will receive a bag of
Lancome products and have the opportunity to enter a
prize draw — the top prize being a t wo- day trip for two
to visit Lancbme’s famous Beauty Institute in Paris.
Other prizes include £250 worth of clothes from
Harvey Nichols and the opportunity to be
photographed by a Vogue portrait photographer.
Tickets cost £10 and the shows are at 11 am.
1.50pm and 5.30pm. All profits to be donated to
Cot Death Research and Support.
Seats are limited, so ring the Press Office now on
071-235 5000 to reserve your place at a very
special occasion.
For further information contact Harvey
Nichols’s Press Office (tel: 071-235 5000).
HARVEY NICHOLS
KNIGHTSBR1DGE LONDON SW1 071 2 3 5 5000
75 YEARS' WORTH OF
CREDITS. .. through the decades
numerous photographers
and illustrators have contributed
to Vogue. Here, those whose
work is shown on previous pages
1916-19
PHOTOGRAPHY: Hugh Cecil, Delphi (Paris), De Meyer, Victor Georg, Ira L.
Hill, Lachman, Bertram Park, Maria Pearson.
ILLUSTRATION: Helen Dryden, Erte, Fish.
1920-29
PHOTOGRAPHY: Marcus Adams, Cecil Beaton, Maurice Beck & Macgregor,
Fred Boissonas, Colnschonn, Howard & Joan Coster, Maurice Goldberg,
Havrah, Hoyningen-Huene, Instead, Interguglielmi, Henri Manuel, Curtis
Moffat & Olivia Wyndham, O’Neill, J.H. Paine, Bertram Park, Man Ray,
Rehbinder, Russell, Sonia, Smirnoff, Steichen, Florence Vandamm.
ILLUSTRATION: Benito, Cocteau, Covarrubias, Fish, E.X. Kapp.
1930-39
PHOTOGRAPHY: Cecil Beaton, Anton Bruehl, De Dienes, Tom Frissell,
Edmund Harrington, Horst, Hoyningen-Huene, George Miles, Nelson, Peter
Rose Pulham, Steichen, Venneman, Dorothy Wilding, Richard Wurts.
ILLUSTRATION: Alajalov, Covarrubias, June Platt.
1940-49
PHOTOGRAPHY: Cecil Beaton, Coffin, John Deakin, Robert Doisneau, Andre
Durst, Toni Frissell, Horst, Platt Lynes, Lee Miller, Norman Parkinson, John H.
Popper, Rawlings, Sima, Steichen, John Swore.
ILLUSTRATION: Eric, John Minton, Steinberg.
1950-59
PHOTOGRAPHY: Antony Armstrong-Jones, Cecil Beaton, Henry Clarke,
Coffin, John Deakin, Anthony Denney, Sante Forlano, Toni Frissell, Milton
Greene, Paul Himmel, Don Honeyman, William Klein, Frances McLaughlin,
Nepo, David Olins, Norman Parkinson, Irving Penn, Rawlings, Silverstein,
Vaccaro, Bob Willoughby.
ILLUSTRATION: Cecil Beaton, Bouche, Hammarskiold, Osbert Lancaster,
Stemp.
1960-69
PHOTOGRAPHY: Clive Arrowsmith, Avedon, Bailey, Jerry Bauer, Cecil
Beaton, Manfredi Bellati. Roloff Beny, Guy Bourdin, David Budnick, Henry
Clarke, Michael Cooper, Terence Donovan, Euan Duff, Duffy, Robert Freson,
Marcel Gautherott, Evelyn Hofer, Don Honeyman, Barry Lategan, Peter
Laurie, Marc Leonard, Liberman, Patrick Lichfield, David Montgomery,
Helmut Newton, Norman Parkinson, Maurice Pascal, Irving Penn, Radkai,
Peter Rand, Jack Robinson, Arnaud de Rosnay, Franco Rubartelli, Ronald
Traeger, Bob Whittaker.
ILLUSTRATION: Don McPherson.
1970-79
PHOTOGRAPHY: Bailey, Cecil Beaton, Roloff Beny, Eric Boman, Michael
Boys, Anthony Crickmay, Terence Donovan, Andreas Heumann, Horst, Patrick
Lichfield, David Montgomery, Ugo Mulas, Norman Parkinson, Steve Shap,
Snowdon, Bert Stern, Tim Street-Porter, Tessa Traeger.
ILLUSTRATION: Cecil Beaton.
1980-91
PHOTOGRAPHY: Eric Boman, Emmett Bright, Alex Chatelain, Michel
Comte, Patrick Demarchelier, Terence Donovan, Arthur Elgort, Robert
Erdmann, Hans Feurer, Oberto Gili, Michel Haddi, Steven Klein, Peter
Lindbergh, Andrew MacPherson, Steven Meisel, Sheila Metzner, David
Montgomery, Derry Moore, Rico Puhlman, Herb Ritts, Matthew Rolston, Paolo
Roversi, Snowdon, Tim Street-Porter, Tessa Traeger, Tyen, Marco de Valdivia,
Vallhonrat, Richard Waite, Bruce Weber.
ILLUSTRATION: Manolo Blahnik, Mats Gustafson, Man Ray.
Photography: Sheila Rock. Make-up: Givenchy Beautt. Hair: Terry Saxon for Michael Van Clark. Photographed at Riverside One Show FI
VOGUE PROMOTION
HARVEY NICHOLS
NEVER
LOOKS BAC
W hite satin swing jacket, £435.70,
and high waisted skirt, £158.90, by
Arabella Pollen. Black hat with
white bow, £302.40, by Patricia
Underwood. Black patent
leather Kelly bag, £101.50. Black
leather gloves, £35.90.
All available at Harvey Nichols.
K
rlain
1 'arfumeur - QffistiCCateur
EVERLASTING
AS
VOGUE
L’HEURE
PARIS
1912
|%j iOollarScan
1dollarscan.com (zLibro, Inc.)
1723 Rogers Avenue Suite G,
San Jose CA 95112
I agree with the following things:
1) I am using 1dollarscan.com services based on my own
request.
2) I agree to Terms and Conditions at 1dollarscan.com,
http://1dollarscan.com/terms.php and my use of
Idollarscan's services will be within the scope of the Fair
Use Policy (http://www.copyright.gov/fls/fl102.html).
Otherwise, meet at least one of the following;
a) I am the copyright holder of this content.
b) I have the permission from copyright owner.
3) I understand that Idollarscan shall have no liability to
me or any third party with respect to their services.
NAME :
Signature:_
Date: ' 2/0
This sheet should be inserted at the last page of each file generated
by 1dollarscan.com scanning services.
Live Music
Archive
Librivox
Free Audio
Metropolitan Museum
Cleveland
Museum of Art
Internet
Arcade
Console Living Room
Open Library
American
Libraries
TV News
Understanding
9/11